The Museum of Modern Art Library
Mail Art Periodicals
An Annotated Inventory
John Held, Jr. Collection
Modern Realism Archive
San Francisco, California

P
a

 

 

 

 

 

INDEX

P.O Box
Panmag: International Magazine
Paper
Paper Work
Parallel-International Creative Magazine
Parallelogramme
Parking Lot Reporter
Participation
Pas de Chance Index
Pelo+Pelo-
Peltex
Pent-Up Observations
Perceptual Motion
Phosphorusflourish
Photostatic Magazine
The Photostatic Retrofuturist
PhrenQuellonium: A Quarterly Arts Review
PIPS: Zeitschrift fur UnZeitgist & UnKomMerz
Place Stamp here: A Literary Magazine on Postcards-Visual Poetry
Planet Roc: An Alternative Arts Journal
PMTTD's Standard Catalogue Update
Po
Poesia en Circulacion/Poetical Network
Poezine
Popular Reality
Post/Arte
PostHype: The Journal of Happy Young People Enterprises
Post Kunst
The Poster: Official Publication of the Local Post Collectors Society
Postflux Fluxpoem
Postfluxpostbooklet
(Shouting at the) Postman
La Preciosa Nativa
Presents of Mind
The Primal Plunge Catalog
Prole
Prop
Prove it Pretzel Boy
Proyecto 'Vortice'
Public Property
Pulse
Punkomik
punks
Punta Cero
The Pup
Perfect Arrow: A Publication of Arrows, Concepts, and Correspondance
Push-Machinery
Pyramid Magazine

 

P.O. Box - Pyramid Magazine

P. O. Box. Peré Sousa, Editor. Merz Mail, Barcelona, Spain. 1995-1999.

No. 12 (September 1995). Photocopy. 8 1/4"x5 3/4". 20 pages. Cover, "Zines de Mail Art," by Birger Jesch (Germany). Special issue on "art postcards." Introduction highlights historical postcard works by Duchamp, Arp, Schwitters and Vautier. Bibliography of literature of the art postcard taken from "Mail Art: An Annotated Bibliography," by John Held, jr. (USA). "Zines de Mail Art y P. O. Box introduces and then lists "Relación de Publicaciones del Mail Art del Archivo de Merz Mail," enumerating 63 publications in four categories (zines, assembling magazines, visual poetry, artistic-periodicals).

No. 12 1/2 (September 1995). Photocopy. 8 1/4"x5 3/4". 16 pages. Special issue on the Electronic Museum of Mail Art (EMMA), directed by Crackerjack Kid (USA). "The Electronic Museum of Mail Art is a first concentrated effort to create a emailart home page totally devoted to the exploration of mailart and snailmail art and where these two communication forms intersect." "The EMMA Email Directory," lists mail Artists involved in electronic communication. Reproduction of "Netshaker Online: Mail Art Cyberspace Ezine," issue two. Cyperstamps.

No. 13 (October 1995). Photocopy. 8 1/4"x5 3/4". 20 pages. Dedicated to the memory of the late Ray Johnson (USA). "List of Experimental Poetry/Art Magazines," by Spencer Shelby (USA). "The Last Number of Piedra Lunar," by Corpá (Spain). Mail Art exhibition, project and publication opportunities. "I Mostra International de Mail Art a Montcada I Reixac 1995. "Contributions by Keith Bates (England), Crackerjack Kid (USA), Ray Johnson (USA), et al. List of contributors to the exhibition, A Tribute to Ray Johnson," organized by Matteo Cagnola, Busto Arsizi, Italy.

No. 14 (November 1995). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". 24 pages. Special issue dedicated to the late mail Artist Guillermo Deisler (1940-1995), an outstanding visual poet, editor of "UNI/vers (;)," and active Mail Artist from Chile, Bulgaria and East Germany. Contributions by John M. Bennett (USA), César Figueiredo (Portugal), Alberto Alonso Biote (Cuba), et al. "El Network en Lationoamerica," by Clemente Padin (Uruguay). Mail Art exhibition, project and publication opportunities. "Mail Art Szene DDR, 1975-1990." Notice of the book, "Eternal Network," by Chuck Welch, including, "An Opening Letter," by Jean Brown (USA). "Mail Art y la Radio." Ruud Janssen's (Holland) "Mail-Art Interview," project.

No. 15 (December 1995). Photocopy. 8 1/4"x5 3/4". 24 pages. Editorial, including an overview of Mail Art activity in Spain during the previous year, and notice of the deaths of Guillermo Deissler (Chile, Bulgaria, Germany) and Ray Johnson (USA). The Mail Art publication, "69 Analgesic Books," by César Figueiredo (Portugal). Visual poetry in Mexico. Bibliography of articles in "P. O. Box," numbers 1-14. Reprint of a newspaper article on the art and life of Guillermo Deisler (Chile). "Futurismo postal," by Vittorio Baccelli (Italy). Mail Art exhibition, project and publication opportunities. Contributions by John Held, Jr. (USA), Lothar Trott (Switzerland), Ray Johnson (USA), et al.

No. 16 (January 1996). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". 24 pages. Editorial. "Sociologia del mail-Art," by Guy Bleus (Belgium). "Una Introduccion Sobre Arte E Intercambio," by Guy Bleus (Belgium). Reprint of "Bibliozine" #42, (The Blue Stamp of Yves Klein), edited by John Held, jr. (USA). "Welcome to Jas Cyperspace." Contributions by Vittore Baroni (Italy), Fernando Aguiar (Portugal), Pedro Juan Gutierrez (Cuba), Joaquin Gómez (Spain), Lothar Trott (Switzerland), et al.

No. 16 1/2" (January 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. Special issue noting the first anniversary of the death of Ray Johnson (USA). reprint of selected correspondence from Ray Johnson to the editor. Contributions by Gerard Barbot (USA) and Keith Bates (England). Bibliography of biographical information on Ray Johnson. "Ray Johnson (1927-1995)," by Mark Bloch (USA). Information on multiple-use personality Luther Blissett.

No. 17 (February 1996). Photocopy and Mixed Media. 8 1/4"x5 3/4". 24 pages. "Un Informe Admisistrativo Sobre el Arte Postal," by Guy Bleus (Belgium). Mail Art Publications. Mail art exhibition, project and publication opportunities. Insert: "Retrospectiva de Edgardo A. Vigo," at the Museo Municipal "Juan B. Castagnino." "Appunti Postali," by Vittorio Baccelli (Italy). Contributions by Ibirico (Spain), C. W. Poste (USA), Ruggero Maggi (Italy), Creative Thing (USA), et al.

No. 18 (March/April 1996). Photocopy. 8 1/4"x5 3/4". 32 pages. Cover by Vittore Baroni (Italy). "V Bienal Internacional de Poesia Visual/Experimental 'Guillermo Deisler.'" Publications received. Interview with the musical group, "Le Forbici di Manitú," conducted by Vittore Baroni with Luther Blissett. Reprint of "Bibliozine" No. 43 (Robert Watts: The Complete Postage Stamp Sheets (1961-1988), edited by John held, Jr. (USA). "Notas en Torno a la Poesia," by Rosana Popelka (Spain). The Stamp Art Gallery, San Francisco, California. Contributions by Bill Gaglione (USA), Spencer Shelby (USA), Michel Hosszú (France), Paulo Bruscky (Brazil), Clemente Padin, et al. Mail Art exhibition, project and publication opportunities.

No. 19 (April/May 1996). Photocopy and Artistamps.. 8 1/4"x5 3/4". 32 pages. "Exposición Internacional de Mail Art en Habana." "Le Democracia Absoluta," by Pedro Juan Gutiérrez (Cuba). "Exposicion de Sellos De Artista: Del Archivo de Merz Mail en Barcelona." Article of artistamps, "Pequeño es Bello," by Vittore Baroni (Italy). Publications received. "De Te Fabula Narratur: 'Luther Blissett' es un Nobre Multiplo." "In Memoriam: Guillermo Deisler," by Clemente Padin (Uruguay). "Convocatoria de Mail-Art: Matriz Grupal," by Montse Fornós (Spain). Mail Art exhibition, project and publication opportunities. Contributions by Gerard Barbot (USA), Giulana Milone (Italy), Cesar Figueiredo (Portugal), Arky of Toast (USA), J. Seafree (Spain), et al.

No. 20 (May/June 1996). Photocopy. 8 1/4"x5 3/4". 32 pages. "Criterios para Una Poesia Virtual," by Ladislao Pablo Györi (Argentina). "III Encuentro de Editores Independientes 1996." Publications received. Mail Art exhibition, project and publication opportunities. "The EMMA Emailart Directory." Fragment of "Bibliozine," No. 46. Contributions by Guillermo Deisler (Chile), Vittore Baroni (Italy), José Anta (Spain), et al.

No. 21 (July 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. Publications received. Mail Art exhibition, project and publication opportunities. Luther Blissett. Meeting of Independent Mail Art Editors, including Spanish Mail Artists Antonio Gomez, Antonio Orihuela, Jesus Luis Navarro, Ibirico and the editor. "CD-ROM Information/The Artistamp Collection," by Guy Bleus (Belgium). "Dead Mail-Artists," by Ruud Janssen (Holland).

No. 21 1/2 (July 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. "Networker Telenetlink," by Crackerjack Kid (USA), Publications received. Luther Blissett. Mail Art exhibition, project and publication opportunities. Contributions by Igor Bärtelech (Yugoslavia), Pedro Juan Gutierrez (Cuba), Antonio Orihuela (Switzerland), Gerard Barbot (USA), Rene Montes (Mexico), Nenad Bogdanovic (Yugoslavia), et al.

No. 22 (August/September 1996). Photocopy. 8 1/4"x5 3/4". 28 pages. Editorial: 2000-2001 Artstike." Publications received. "List of Experimental Poetry/Art Magazines, by Spencer Shelby (USA). Mail Art exhibition, project and publication opportunities. Index of articles  in "P. O. Box" nos. 1-21. "Congreso Mediterráneo," by Ruggero Maggi (Italy). List of Mail Art and Visual Poetry magazines in the Archive Merz Mail (94 magazine listed). Contributions by Theo Breuer (Germany), Eberhard Janke (Germany), Kazunori Murakai (Japan), René Montes (Mexico). Jean François Robic (France), et al.

No. 23 (September/October 1996). Photocopy and Mixed Media. 8 1/4"x5 3/4". 24 pages. "Del Lenguage Visual al Libro-Objecto," by Antonio Gómez. "2000-2001 Heulga de Arte," by Luther Blissett, karen eliot and Monty Cantsin. Mail Art exhibition, project and publication opportunities. Inserted reprint of "Ephemera," No. 4 (1978), edited by Ulises Carrión (Holland). "Clemente Padin/Aga-Rossi Mail Art/Inismo," by Antonio Orihulea (Spain). "Manual Practico para Organizar una Exposicion de Mail Art." by the editor. Contributions by Jacinto Garcia (Spain), Jean-François Robic (France), Luis Navarro (Spain), et al.

No. 24 (October/November 1996). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". 28 pages. "Vigencia de la Huelga de Arte," by Clemente Padin (Uruguay). Art Strike, 1990-1993. Publications received. Reprint of "Bibliozine," no. 51 (Two Spanish Mail Art Zines). "La Obra de Arte en la Epoca de su Reproductibilidad Electronica," by Luis Navarro (Spain). Mail Art exhibition, project and publication opportunities. Contributions by Pedro Juan Gutierrez (Cuba), Harry Burras (USA), J. Seafree (Spain), et al. Insert by Lothar Trott (Switzerland).

No. 25 (December 1996/January 1997). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". 36 pages. Editorial. Publications received. Mail Art exhibition, project and publication opportunities. "Bibliozine Checklist (#1-51), by John Held, Jr. (USA). "Sobra la Huelga de Arte," by Stewart Home (England). "Paisaje de Bolsillio: Reflexiones Entorno de la Carta Postal en la Obra de Perejaume," by Gabriel Martin Roig (Spain). "Poemes Visuales," by Hugo Pontes (Brazil). "Poema Visual-Experimentalismo la Transitividad de V(l)er," by Hugo Pontes. "Contra el Tiemp del Silencio," by Antonio Orihuela (Spain). "Una Alternativa a la Huelga de Arte," by Roxana Popelka (Spain). "Enter networld: en el Principio Era el Mail Art," by Vittore Baroni (Italy). Special 18 page insert documenting a visual poetry exhibition organized by the editor. The 34 contributors include Edgardo Antonio Vigo (Argentina), J. M. Callega (Spain), Yolanda Perez (Spain), Ibirico (Spain), John Held, jr. (USA), Tartarugo (Spain), César Reglero (Spain), et al.

No. 26 (January/February 1997). Photocopy. 8 1/4"x5 3/4". (24 pages). "Es Tiempo de Asesinos," by Karen Eliot. Indes of articles in "P.O. Box" numbers 1-25. "Woman-Made: considerations sobre el papel del Arte postal en la Búsqueda de la Identidad Femenina Ante las Estructuras de Poden de la Sociedad Postmoderna," by Gabriel Martin Roig (Spain). Listing of Mail Art and Visual Poetry publications in the Merz Mail Archives. Publications received. Contributions by John m. Bennett (USA), Harry Burras (USA), Ever Arts (Holland), et al.

No. 26 1/2 (February 1997). Photocopy. 11 3/4"x8 1/4". (4 pages). Two articles by Stewart Home (England), "Derribar La Cultura Formal," and "Karen Eliot." Publications received. "Fotocopiando el Arte," by Gabriel Martin Roig (Spain). "El Sentido de la 'Huelga de Arte.'" by Clemente Padin (Uruguay). Contributions by Mario Gemin and Marital Canterel (Argentina), Dórian Ribas Marinho (Brazil), Sonia Landy Sheridan (USA), et al.   

No. 27 (March/April 1997). Photocopy, rubber Stamps and Mixed Media. 8 1/4"x5 3/4". 36 pages. Mixed media front cover by César Figueiredo (Portugal). "Performance; la Esencia de los Sentidos," by Fernando Aguiar. "Sobra la Huelga de Arte 1990-1993," an interview with Karen Eliot by Scott MacLeod (USA) in 1989. Extracts from "Neoism, Plagiarism & Praxis," by Stewart Home (England). "Ray Johnson: Un Zapatista en Greenwich," by Luther Blissett. Interview with Stewart Home. Publications received.

No. 28 (April/May 1997). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". 24 pages. Cover by John Held, Jr. (USA). "De Moticos al Arte Correo: Cinco Décades de Red Postal," by John Held, Jr. "Okupación Global," by Karen Eliot. "Xerografia: Un Recurso del Arte postal," by Hugo Pontes (Brazil). "Mail Retrospectiva e Indagaciones," by Dórian Ribas Marinho (Brazil). Mail Art exhibition, project and publication opportunities. Publications received. Contributions by Yolanda Perez Herreras (Spain), Cesar Figueiredo (Portugal), Ray Johnson (USA), et al. 

No. 29 (May/June 1997). Photocopy. 8 1/4"x5 3/4". 28 pages. "La Red de Arte Postal en los Ochenta," by John Held, Jr. (USA). "Alguna Otra Propuesta Alternativa," by Edgardo-Antonio Vigo (Argentina). "Dificultades Metodológicas en el Examen de la Poesia Experimental,"  by Clemente Padin (Uruguay). Publications received.

No. 30 (July/September 1997). Photocopy. 8 1/4"x5 3/4". 36 pages. "La Red de Arte Postal en los Noventa," by John Held, Jr. (USA). "Artes Teleáticas: Nuevos Anzuelos para la Libertad, Nuevas Técnicas de Clausura para la Reflexión," by Antonio Orihuela (Spain). Spanish Mail Artists meet in Barcelona, June 20 and 21, 1997. "La Huelga de Arte: Lineas de Apoya a la Posición de Clemente Padin Publicada en P. O. Box," by Hans Braumüller (Germany). Mail Art exhibition, project and publication opportunities. "El mail Art," by José Luis Campal Fernández (Spain). Publications received.

No. 31 (October 1997). Photocopy. 8 1/4"x5 3/4". 36 pages. "El Operador Visual en la Poesia Experimntal," by Clemente Padin (Uruguay). "Fogozazos," by Luis Navarro (Spain). Mail Art exhibition, project and publication opportunities. Publications received. "The Mail Art Interview Project." "List of Experimental Poetry/Art Magazines," by Spencer Selby (USA). contributions by Antonio Miró (Spain), Tartarugo (Spain), J. M. Calleja (Spain). et al.

No. 32 (Solsticio de Invierno 1997-1998). Photocopy. 8 1/4"x5 3/4". 28 pages. Special issue on Argentinean Mail Artist Edgardo-Antonio Vigo (1928-1997). "Un Arte a Realizar," by Edgardo-Antonio Vigo. Edgardo Antonio Vigo," by Clemente Padin (Uruguay). "Acuse de Recibo," by G. E. Marx Vigo (aka E. A. Vigo and Graciela G. Marx) (Argentina). "El Circuito Marginal: La Vivicación del Verdadero Arte," by Ricardo Alvarez Martin (Argentina). Edgardo Vigo: La Zona Visual de la Poesia Argentina." "Incongruous Meetings 1998." Publications received. Mail Art exhibition, project and publication opportunities.

No. 33 (Spring 1998). Photocopy. 8 1/4"x5 3/4". 44 pages. "Manifiesto No Mas Obras Maestras," by Karen Eliot. "FAX Art," by Guy Bleus (Belgium). "Incongruous Meeting" in Barcelona. "Artisellos," by Jas.. W. Felter (Canada). "Estampaciones en Flux (Introducción a la Exposición de Sellos de Caucho de Fluxus en la Garleria de Arte The Stamp)," by John Held, Jr. (USA). "Huelga de Arte: Barcelona, Madrid 2000-2001," by Yolanda Pérez Herreras (Spain). "P. O. Box on line." Publications received. Mail Art exhibition, project and publication opportunities. Contributions by Ibirico (Spain), Fernando Aguiar (Portugal), Clemente Padin (Uruguay). 

No. 34 (Equinocio de Otoño 1998). Photocopy. 8 1/4"x5 3/4". 40 pages. "De DADA a DIY: Breve Historia de la Cultura Alternativa," by John Held, Jr. (USA). "No panic: PIPS-Dada Comic," by Dieter Vollmer (Germany). "Las Huelgas de Arte," by Luis Navarro (Spain). Interview with Clemente Padin (Uruguay), conducted by Ruud Janssen (Holland) for "The Mail Art Interview Project.". Publications received. contributions by Géza Perneczky (Germany), John M. Bennett (USA), et al.

No. 36 (Solsticio de Invierno 1998-1999). Photocopy and Mixed Media. 8 1/4"x5 3/4". 24 pages. Editorial explaining reasons (Art Strike 2000-2001) for discontinuing publication. "Sobra la Desmaterializacion Artistica," by Xavier Moreno (Spain). "Dick Higgins (1938-1998)." Publications received. Interview with the editor about Merz Mail. Index of articles in "P. O. Box," (nos. 1-35) including reproduction of covers.      

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Panmag: International Magazine. Mark Bloch, Editor. Postal Art Network, New York, New York. 1983-1992.
 
No. 1 (September 1983). Photocopy. 14"x8 1/2". (2 pages). "This issue of PANMAG is primarily aimed at getting out into THE NETWORK a clear picture of what THE LAST MAIL ART SHOW is about...People in the NETWORK are talking about how MAIL ART is dead. The good old days are over they say. Well The LMAS is the funeral, if you will. I way LET'S MOVE INTO PHASE TWO. Phase one sprouted almost spontaneously out of Ray Johnson's pineal gland. since then, the collective sludge of the 60's. 70's, and 80's has spawned more and more MAIL ART until we now lie engulfed in our own filing systems. The NETWORK evolving into some new form: SHOULD WE TRY TO MAKE MONEY/ GO UNDERGROUND/ END WAR/ Well, I invite all MAIL ARTISTS past, present & future, to air their feeling on this subject via THE LAST MAIL ART SHOW." History of events leading to the appearance of this "first" issue of the magazine.

No. 2 (December 1983). Photocopy. 11"x8 1/2". (one page). More on "The last Mail Art Show." "Join with me, comrades, send your ideas once and for all to the Last mail Art Show...It is not the end of Mail Art. It is not even the end of mail art shows. N-Stead, it is a new BEGINNING (big N-ing) for us all, a chance to appraise where we've gone and chart our course for the future."

No. 4 (January 1984). Photocopy. 8 1/2"x5 1/2". (16 pages). List of those present (with addresses) of a Mail Art meeting on the occasion of a Bern Porter (USA) exhibition at La Galleria dell'Occhio, directed by Carlo Pittore (USA). The editor reports on the evening, followed by another view by Jim Quinlan (USA). "Panifesto # 7333." Reproduction of the cover of "Panmag" number 3, "a calendar countdown to The End that I distributed at the meeting." "Excerpts From a Rough Draft on Mail Art for the Franklin Furnace mail Art Show." "Panarchy." "The Last Word." "1st printing 50 copies Jan 84/2nd printing 100 copies Mar 84." 

No. 6 ([1984]). Photocopy. 8 1/2"x5 1/2". (8 pages). "Hope you enjoy this issue of Panmag-published for the final Artists Talk on Art pan-el discussion." "An Open Letter from Ray Johnson." List of those "who expressed indignation at the way the International mail Art Exhibition at Franklin Furnace was handled." "The Secret Message by Tibor Papp," an "open letter" by the Australian Mail Artist. "Phantastische Gebete Revisitied," an "open letter to everybody in the network," by the editor and H. R. Fricker (Switzerland).

No. 8 (July 1984). Photocopy and Rubber Stamps. 11"x8 1/2". (4 pages). "Welcome to Panmag number 8, the Ketchup Issue, in which I catch up with all the mail I received (sic) while I was vacationing in Ohio...I am becoming increasingly disillusioned with the traditional gallery system. I think the alternative is to work together with other members of this NETWORK  to create projects and publications that undermine the outmoded ways of the status quo. mail art really is the key, I think, to a new paradigm in art and communications."

No. 9 (1984). Photocopy. 11"x8 1/2". (6 pages). Account of a visit by Sonja Van Der Burg (Holland) to the editor in New York City, highlighted by a film program at Darinka, a club on the Lower East Side, with films by Van Der Burg, Tomasz Sikorski (Poland), the editor, and Tibor Papp (Australia).

No. 10 (September 1984). Photocopy. 11"x8 1/2". (8 pages). Contents page from Crane and Stofflets', "Correspondence Art: Source Book for the International Network of Postal Art Activity," with notes in the editor's hand.  Reflections on Dada Art. Contribution by Ray Johnson (USA).

No. 11 (December 1984). Photocopy. 8 1/2"x5 1/2". (8 pages). "A Letter to Guy Bleus About Commonpress 56." "Many of the observations that I will describe here are simply thoughts I had while reading CP56. almost free association or stream of consciousness, although not always. I agree with your statement that 'MAIL ART DESERVES AN ECHO." I am echoing your significant article on mail art." Reprint of "Solidarte Informa," by Ruggero Maggi (Italy).

No. 12 (March 1985). Photocopy. 8 1/2"x5 1/2". (8 pages). "Net Work city (T) our ism Issue." "Network visitors from all over the place invaded our unfair city during January, February and march, and more threaten to continue the trend...SOMEBODY has to document to visits from around the network, so I volunteer. I think it is important that so many Network artists are traveling, meeting each other, and collaborating." List of visitors includes Henryk Gajewsky (Holland), Arno Arts (Holland), Crackerjack Kid (USA), Kathy Ernst (USA), Faith Heisler (USA), Bern Porter (USA), Steve Random (USA), Mark Wamaling (USA), et al.  

No. 13 (April 1985). Photocopy and Rubber Stamp. 11"x8 1/2". (10 pages). In response to a question by Ruggero Maggi (Italy), about the results of the editor's "Postcard show," the editor responds by putting together a catalog of the five-year old project. "It's good of you to get on the backs of any 'mail artist' who does not come through with their catalogue, myself included. I hope that anyone who has not delivered on their promise is as well-intentioned as I am and I hope that all these intentions will eventually become reality." contributions by A. De Aarujo (Brazil), Ko De Jonge (Holland), Henryk Gajewski (Poland), Bálint Szombathy (Yugoslavia), Guy Bleus (Belgium), Albrecht d. (Germany), Paulo Bruscky (Brazil), et al.                                   

No. 15 ([1985]). Photocopy and Magnifying Glass. 11"x8 1/2". (12 pages). Alternatively titled "C NILE," a take-off on the "SMILE" magazines of the Neoists. "Introduction" by the editor notes the strange twists of fates that lead him from Marcel Duchamp, Raymond Roussel, Arthur Craven, and David Zack, to Monty Pansin (aka Monty Cantsin). "You will find rare archival material from Zack, Snow White Jung, Arthur Berkhoff, Stewart Home, David Cole, Al Ackermancy, Peter Below and other too humorous to mention. I hope these documents and this concise essay will shed some light on just WHO this Monty Pansin is, as well as answer the question WHAT THE FUCK IS NEOISM." 

No. 16 (December [1985]). Photocopy. 14"x8 1/2". (6 pages). "Mail Mall" diagrams a shopping mall with stores indicated by an array of international and historical Mail Artists. Contributions by Steve Random (USA), Crackerjack Kid (USA), Cavellini (Italy), et al.

No. 17 ([April 1987]). Photocopy. 11"x8 1/2". (14 pages). The David Zack (Mexico) issue, centering around a visit by Zack to New York City in December 1986. Photo-documentation with Crackerjack Kid (USA), Ben Zona Banville (USA), Judith Conway, et al. "Congress" at David Cole's (USA) home in Brooklyn with buZ blurr (USA), E. F. Higgins III (USA), Claudine Barbot (USA), et al. Correspondence and "Correspondence Novels" from David Zack.

No. 18 ([May 1987]). Photocopy. 14"x8 1/2". (2 pages). Special issue to commemorate the visit of Andrej Tisma (Yugoslavia) to New York City. "Decentralized Mail Art Postal Art Correspond Dance School New York Style Congress." Contribution by Ray Johnson (USA). Dinner seating plan by Dadaland Gaglione (USA).

No. 19 (1987). Photocopy. 7"x4 1/4". (12 pages). "The Stanton School," "Japanese Mail Artists," "Illustrated History of Gutai," and "Manifesto," by the editor. "Gutai" by Shozo Shimamoto.

No. 20 (n.d.). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (16 pages). "Reprinted from the original readymade Fluxpan object." Modified issue of "Fluxione Fanzine," rubber stamped "PANMAG 20 ISSN 0738-4777."

No. 21 (November 14, 1987). Photocopy. 11"x8 1/2". (10 pages). Musings on Duchamp, with notice of a performance "for Marcel Duchamp," by the editor, November 14, 1987. Hand drawn text and graphics mimicking Duchamp's notes for the "Green Box." 

No. 22 (1988). Photocopy. 11"x8 1/2". (20 pages). About Rodenski, an unknown art personality whom the editor has inserted into the canon of art history. "Rodensk's mail art career was brief but important. Rodensky's earliest correspondence dates back to 1964 with BuZ Blurr of Surrealville, Arkansas. R's involvement with mail ended only recently (circa 1985). His last known art of "networking" was sending tea leaves to Steve Random of Greenfield, Massachusetts. after that, both of them disappeared."

No. 27 (August 5, 1989). Photocopy. 11"x7 3/4". (4 pages). "Plagiarism Special." Issue done while the editor was attending "The Festival of Plagiarism," Transmission Gallery, Glasgow, Scotland. Alternatively titled, "Smile" magazine (see "Smile," various editors).   

No. 28 (August-February 1990). Photocopy. 8 1/2"x5 1/2". 30 pages. "The Last Word: Art Strike, Word Strike, Plagiarism and Originality." Account of the editor's involvement in "The Festival of Plagiarism," Transmission Gallery, Glasgow, Scotland, August 4-11, 1989, attended by Stewart Home (England), Lloyd Dunn (USA), Mark Pawson (England), Florian Cramer (Germany), et al.

No. 29 (July 1990). Photocopy. 8 1/2"x5 1/2". (36 pages). "Network Mutation," by the editor and Emilio Morandi (Italy). "Elephant Drawing of the network by Emilio Morandi. Mutations performed by Mark Bloch on the Canon NP9030 Laser Copier."

No. 37 ([December 1992]). Photocopy. 11"x8 1/2". (10 pages). "This panmag is a book about a fictitious trip I took to Cleveland, Ohio, my home town, in cognito....as Mark Pawson... Fake Mark Bloch meets Fa Ga Ga Ga (USA) and John M. Bennett (USA).    

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Paper. Serse Luigetti, Editor. Perugia, Italy. (1981-1985).

([1981]). Photocopy. 13"x8 1/2". 11 pages. "Collage City." Contributions to the editors' exhibition at Biblioteca Comunal di Ferro di Cavallo, Perugia, Italy. Contributions by Jaroslav Supek (Yugoslavia), Rod Summers (Holland), Scott Helmes (USA), György Galantai (Hungary), Pawel Petasz (Poland), et al.

No. 3 ([1985]). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (11 pages). The editor sends out artistamp sheets, which collaborators "add to and return." Documentation of the results. Contributors include Arthur Berkoff (Holland), Carla Bertola (Italy), Nenad Bogdanovic (Yugoslavia), Mr. Bop (USA), Kowa Kato (Japan), Birger Jesch (East Germany), Mark Pawson (England), Carol Stetser (USA), et al.

No. 4 ([1985]). Photocopy and Rubber Stamps. 11 3/4"x8 1/4". (11 pages). The editor sends out artistamp sheets, which collaborators "add to and return." Documentation of the results. Contributors include Arno Arts (Holland), Cracker Jack Kid (USA) David Cole (USA), Guillermo Deisler (Bulgaria),  Musicmaster (USA), Lon Spiegelman (USA), Ruth Wolf-Rehfield (East Germany), Carol Stetser (USA), Lois Way (USA), et al.

(n.d.). Photocopy. 11 3/4"x8 1/4". (11 pages). Artistamp sheets by the editor.  

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Paper Work. Gregory Zbitnew, Editor. Vancouver, Canada. 1989.

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

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Parallel-International Creative Magazine. Luc Fierens, Editor. Hombeek, Belgium). 1986-1988.

No. 2-4 (1986-1987). Photocopy. 8 1/4"x5 3/4". (44 pages). Theme: Hommage a... Participation by 300 artists from 32 countries. "Hommages are engaging because you can re-use some aspects//thoughts/statements of a past and combine AGAIN. Fluxism, mailism, Neoism, Tourism, Spiegelism, Inbetweenism, Postfluxism, are all part of my heARTmemory..." Reproduced contributions by Lutz Wohlrab (East Germany), Charles Françoise (Belgium), Michael Bidner (Canada), David B. Greenberger (USA), Tomasz Schulz (Poland), Guillermo Deisler (East Germany), Jan Wilson Kaufman (USA), Carole Sivin (USA), Hilda Paz (Argentina), Darlene Altschul (USA), et al.

No. 6 (1988). Photocopy. 8 1/4"x5 3/4". 21 pages. Theme: Homage to Fluxus. Participation by 409 artists from 35 countries. "I can only print a small selection of the work. More will be printed in the postfluxpostbooklets..." Reproduced contributions by Günther Ruch (Switzerland), Robert Rehfield (East Germany), Albrecht/d (West Germany), Serge Segay (USSR), Shozo Shimamoto (Japan), Gerard Barbot (USA), Vittore Baroni (Italy), et al. Definition of Fluxus from "Correspondence Art," by Crane and Stofflet. Biographical information on the editor.

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Parallelogramme. Tanya Mars, Editor. Association of National Non-Profit Artists' Centres, Toronto, Canada. 1985.

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

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Parking Lot Reporter. (Al Ackerman, Editor). (San Antonio, Texas.) (1988).

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

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Participacion. Clemente Padin, Editor. Montevideo, Uruguay. 1984-1985.

No. 1 (June 1984). Offset. 11"x8 1/4". 4 pages. Contributor list for the exhibition "Mailart aus Latinamerika," organized by the editor at the Galeriá DAAD, West Berlin, West Germany, May 26-June 30 (1984). Listing of 86 contributing artists from Mexico, Argentina, Brazil, El Salvador, Colombia, Panama, Chile, Venezuela, Dominican Republic, Ecuador and Uruguay. Contributions by Guillermo Deisler (Bulgaria), Luis (Brazil), et al. Mail Art exhibition, project and publication opportunities.

No. 2 (July 1984). Offset. 10 1/2"x8 1/2". (4 pages). Reprint of an interview with the editor, "Con Clemente Padin: Arte-Correo: Multiplicación de Lenguajes," appearing in "Jacques" (June 29, 1984). Mail Art exhibition, project and publication opportunities.

No. 4 (September 1984). Offset. 10 3/4"x8 1/4". (4 pages). Manifesto, "Acta Fundacion," signed by nine Mail Artsists from Uruguay and Argentina (Graciela Gutiérrez Marx, Verónica Orta, Jorge Orta, Claudia del Río, Susana Lombardo, Nicteroi Argañaraz, Mamablanca, Marina Róthberg, Clemente Padin), August 31, 1984, at the "1st Seminario de Arte Contemporánneo y Exposición Internacional de Arte Correo," Rosario, Argentina. Reprints of several newspaper articles on the event, including "Arte-Correo: Alternativa Desafiante," which appeared in "El Pais" (September 10, 1984). mail Art exhibition, project and publication opportunities.

No. 5 (October 1984). Offset. 11 1/4"x8 3/4". (4 pages, numbered 17-19). Reprinted newspaper articles, including several from Mexico concerning the mail Art exhibition, "1984 en 1984: que Futuro Buscamos?," organized by Colectivo-3 (Mexico). mail Art exhibition, project and publication opportunities.

No. 6 (December 1984). Offset. 11"x8 1/2". (4 pages, numbered 21-23). Telegram from La Asociacion Latinomamericana y del Caribe to the Chilean Minister of the Interior requesting the release of Andres Diaz Poblete (Chile). Reprinted newspaper article. "Accion Postal," by Colectivo 3 (Mexico). mail Art exhibition, project and publication opportunities. 

No. 7 (February 1985). Offset. 11"x8 3/4". (4 pages, numbered 25-27). Statement made in behalf of "La Asociacion Latinomerican y del Caribe de Artistas Correo," by Uruguayan Mail Artists N. N. Argañaraz, Jorge Caraballo, Antonio Ladra and Clemente Padin. Notice of a book published by Jorge Caraballo (Uruguay) and Clemente Padin (Uruguay) on their incarceration and subsequent release from prison (after a campaign to secure their release by international Mail Artists) in June 1973. mail Art exhibition, project and publication opportunities.

No. 8 (April 1985). Offset. 11 1/2x8 3/4". (4 pages-numbered 29-31). "América Latina; Una Nueva Etapa en el Desarrollo del Arte Correo," by N. N. Argañaraz (Uruguay). "Arte-Correo: Nuevos Procesos de Significación Artistica," by César Espinosa (Mexico). "Noticias de la AUAC." Mail Art exhibition, project and publication opportunities. contribution by Henning Mittendorf (West Germany).

No. 9 (October 1985). Photocopy. 14"x8 1/2". (2 pages). "Boletin de la Asociacion Uruguaya de Artistas Correo." Mail Art exhibition in the USSR (Moscow). organized by Acociacion Uruguaya de Artistas Correo, with contributions by 180 artists from 33 countries. List of participants in the exhibition. Mail Art exhibition, project and publication opportunities. 

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Pas de Chance Index. Pas de Chance, Editor. Toronto, Canada. 1995.

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

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Pelo+Pelo-. Emilio Morandi, Editor. Artestudio, Ponte Nossa, Italy. 1985-1986.

No. 11 (1985). Photocopy. 11 3/4"x8 1/4". (36 pages). Contributions by 30 artists from 13 countries on the theme of "hair." Contributions by Steve Random (USA), Guy Bleus (Belgium), Birger Jesch (East Germany), Jacques Massa (France), Rod Summers (Holland), Dobrica Kamperelic (Yugoslavia), Luc Fierens (Belgium), Ruud Janssen (Holland), Alex Igloo (USA), Leif Eriksson (Sweden), Vittore Baroni (Italy), Acosta Bentos (Uruguay), et al.

No. 12 (1986). Photocopy. 11 3/4"x8 1/4". (36 pages). Contributions by 31 artists from 8 countries on the theme of "hair." Contributions by Ruggero Maggi (Italy), Piermario Ciani (Italy), Graf Haufen (west Germany), Joachim Stange (East Germany), Robert Rehfield (East Germany), Birger Jesch (East Germany), Salvatore De Rosa (Italy),Carlo Pittore (USA), Helena Almeida (Portugal), et al. 

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Peltex. Dominique Leblanc and Zaza, Editors. Strasbourg, France. 1987.

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

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Pent-Up Observations. Mike Furry and Avi Naftel, Editors. Pent-Up Press Production, Tucson, Arizona. 1989-1990.

Vol. 1, No. 3 (July/September 1989). Photocopy. 11"x8 1/2". 30 pages. Published by the editor while incarcerated in Arizona State Prison. Funds mailed to Boog Highberger (USA). "Postal Fall-Out,"  lists alternative press sources. "Brain Cell," by Ryosuke Cohen (Japan). 

Vol. 2, No. 1 (January-April 1990). Photocopy. 11"x8 1/2". 24 pages. Cover by Musicmaster (USA). "Postal Fall-Out," lists alternative press sources including "Factsheet Five" and "Duplex Planet."

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Perpetual Motion. Matty Jankowski, Editor. Circle Arts, Brooklyn, New York. 1985.

No. 22 (1985). Photocopy. 8 1/2"x5 1/2". 14 pages. Contributors include Ryosuke Cohen (Japan), B. J. Tisa (USA), Robert Rehfield (East Germany), Mr. Bop (USA), H. R. Fricker (Switzerland), et al.

No. 23 ([1985]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". 17 pages. Cover by Ken Brown (USA). "The Thrill of Working with Odours," by Guy Bleus (Belgium). Mail Art manifesto by Lon Spiegelman (USA) and Mario Lara (USA). Contributions by Gene Laughter (USA), Robert Rehfield (East Germany), Joki Mail Art (aka Jo Klaffki) (West Germany), Lancillotto Bellini (Italy), Graf Haufen (East Germany), Charles Françoise (Belgium), et al.

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Phosphorusflourish. (John Rininger), Editor. Champagne, Illinois. 1987.

No. 19 (1987). Photocopy. 8 1/2"x5 1/2". 25 pages. Contributions by M. I. Blue (US), Ruggero Maggi (Italy), Phillipe Billé (France), Brad Goins (USA), et al. Recommended Mail Art zines include "Foist," "Mallife," "Popular Reality," "Photostatic," "ND," and "Level," etc.

No. 21 (Fall 1987). Photocopy. 14"x4 1/2". (42 pages). Contributions by Mike Miskowski (USA), Steve Perkins (USA), Phillipe Billé (France), Jake Berry (USA), John Eberly (USA), Ruggero Maggi (Italy), Carol Schneck (USA), Alessandro Aiello (Italy), et al.        

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PhotoStatic Magazine. Lloyd Dunn, Editor. Iowa City, Iowa. 1984-1993.

"'PhotoStatic Magazine' is a bimonthly not-for-profit periodical of xerographic art and related commentary. It is a collaborative editorial endeavor seeking to collect, compose and present xerox artwork in (a) way that only xerography makes possible. There is no sense in putting work of this type in a gallery; therefore 'PhotoStatic' seeks to create the most appropriate context possible for the viewing of this work...'Photostatic' has subscribers, contributors, and correspondents on five continents."

No. 1.7 (October 1984). Photocopy. 8 1/2"x7". (28 pages). "This issue contains previously released, but currently unavailable material. It also has unreleased material." "'PhotoSTATIC' is a periodical (hopefully appearing every other month) devoted to the xerographic process as creative endeavor...The editor  is Lloyd Dunn. Warren Ong helped, but just a little. Thanks to Andrew Steele for the name of this magazine." Contributions by Chester F. Carlson (USA), Miekal And (USA), and the editor.

No 2.10 (April 1985). Photocopy. 8 1/2"x7". (28 pages). "Dyslexic Anniversary Revisited." "This issue con(t)ains old & new material from about the same period and exists in the spirit of its own time." Contributions by Ray Johnson (USA), Warren Ong (USA), Miekal And (USA), Liz Was (USA), Ralph Johnson (USA), Joel Lipman (USA), the editor, et al.

No. 3.14 (November 1985). Photocopy. 8 1/2"x7". (28 pages). "This is yet another in the series of 'photoSTATIC' reissue. It comes nearly two years after it originally appeared in December 1983. It is issue #3.14 because of the idea of circle which is what the reissue impulse is all about. I.e., doing it all over again for a new reason; putting the same thing out with a new context for a new audience." Contributions by Paul Nef (USA), Miekal And (USA), Dan Welch (USA), Warren Ong (USA), Crag Hill (USA), the editor, et al.

No. 15 (December 1985). Photocopy. 8 1/2"x7". (28 pages). "'photoSTATIC' is a nonprofit sort-of -monthly visual and increasingly visible journal which devotes itself to the electrostatic image and how it is used by artists and other folks today." Contributions by Carol Stetser (USA), Robin Crozier (England), Edgar Allen Bushmiller (USA), et al.

No. 16 (January 1986). Photocopy. 8 1/2"x7". (32 pages). "Welcome to photoSTATIC #16, 'The persistence of the Persistence of vision,' the third issue in the Metatheme of Persistence. 'PhotoSTATIC has received so many submission on the theme of vision that were of such a high caliber that this issue was need(ed) to print all of them." contributions by mark Wamaling (USA), Steven Perkins (USA), Sue Fishbein (USA). Al Ackerman (USA), the editor, et al. "Casual Survey: Fanzines," by John Pyros (aka Epistolary Stud Farm) (USA). Mail Art exhibition opportunity. "Mail Review: photoSTATIC's editor review his recent mail..."

No 17 (April 1986). Photocopy and Mixed Media. 8 1/2"x7". (32 pages). "The editorial policy is this: photoSTATIC will accept for publication any artwork or writing which is xerographically produced and reproducible, and especially those artworks/writings which are xerographic in nature, that is, use the peculiarities of the process as an integral part of the form and/or content of the work...'photoSTATIC's first issue came out in August 1983, and the fact that it is still going is due in large part to fact that here are people (such as, perhaps, yourself) who are willing to support the project by either taking out subscriptions or sending in the work, or both. The first 40 copies of this issue have an original stampwork by Jacqueline de Parjure affixed here." Contributions by Dazar (USA), the editor,  et al. "Mail Review."

No. 18 (May 1986). Photocopy. 8 1/2"x7". (pages 516-546). Contributions by Dazar (USA), Gerard Barbot (USA), Sue Fishbein (USA), Minoy (USA), Serse Luigetti (USA), Jürgen Oblbrich (West Germany), Jorge Caraballo (USA), the editor, et al. "Mail Review: photoSTATIC's editor review recent mail."    

No. 19 (July 1986). Photocopy. 8 1/2"x7". (pages 548-574). "This issue of PhotoSTATIC has a specific referent in mind, and this is Walter Benjamin's 1935 article 'The Work of Art in the Age of Mechanical Reproduction.' although the article deals most specifically with motion pictures, it seems apparent that it could easily be extended to deal with (the title implies this) machine-based arts generally, such as xerography, photography, video, and computer-related imaging systems." The text of "The Work of Art in the Age of Mechanical Reproduction and the Ontology of the Xerographic Image," by the editor, runs throughout the periodical. "Mail Review."

No. 19 1/2 (August 1986). Photocopy. 8 1/2"x7". (pages 576-602). "This issue, entitled '1913', is intended to reflect upon the heritage of experimentation that has been acquired by the postmodern artist, as symbolized by the Armory Show, which was held in new York in that year. An interesting paradox is the Tradition of the New that weighs upon all of us when we do our work. To a certain extent, this would indicate that our sense of the New is illusory. Perhaps Duchamp was correct in proclaiming the death f art and refusing to do it anymore. And perhaps not." contributions by Musicmaster (USA), Richard Bruno (France), Serse Liugetti (Italy), Luc Fierens (Belgium), Crag Hill (USA), Ruggero Maggi (Italy), Fernand Barbot (USA), Hazel Jones (England), Arturo G. Fallico (USA), Joel Lipman (USA), John Pyros (USA), Patrick T. (USA), et al. "Mail Review." Supplement #19 1/2a inserted for additional contributions by Art Nahpro (England), Thomas Hibbard (USA), and Bern Porter (USA).

No. 19-1 (July 1986). Photocopy. 8 1/2"x7". (16 pages). "originally appeared in pS#14 'The Persistence of Vision' October 1985. This revised version from July 1986." Contribution by Warren Ong (USA). 

No. 20 (October 1986). Photocopy. 8 1/2"x7". (pages 605-641). "The idea for an issue devoted to the loose term 'Experimental Texts' was actually one of the first themes every (sic) suggested for a future issue of PhotoStatic. I don't remember who suggested it, only that I first heard it soon after pS#1, "Some Possibilities.' Since image/text manipulations form a hard core of xerograhic possibility, I knew it was a good idea for a theme. The first 'Experimental Texts' issue was #10, and was my favorite issue of a long time. This is therefore the second 'Experimental Texts' issue." Contributors include Crag Hill (USA), Carol Stetser (USA), Miekal And (USA), Caryl Burtner (USA), Mike Miskowski (USA), Steve Perkins (USA), Elizabeth Was (USA), Ruggero Maggi (Italy), Drake Scott (USA), et al. "Mail Review."

No. 20-5&6 (November 1986). Photocopy. 8 1/2"x7". (36 pages). "This is the latest in a series of reissues of PhotoStatic, and represents a first for me in that it is a combined reissue of #5 'Degeneration' and #6 'What Now? Issue,' both of which came out in the Summer of 1984. There is considerable admixing of artist's works on the pages, but I feel they have been well identified. to my mind, there is a new unity of work to be found in these reissues, a kind of similarity which I hadn't noticed at the time, that this new arrangement helps to divulge. I feel it is part of my editorial responsibility within the 'network' to continually bring the work that has been entrusted with me to view. PhotoStatic is more tha(n) just an archive or a publication. it is a process-oriented polydimensional world-diegetic and teleological art/reality interface..." Contributions by Warren Ong (USA), Miekal And (USA), Crag Hill (USA), Guy R. Beining (USA), the editor, et al.

No. 21 (December 1986). Photocopy. 8 1/2"x7". (pages 644-673). "The Dan Rather Issue...What, you might ask, is 'The Dan Rather Issue' about? It was originally intended to be an examination of the role of the tv anchor personality (as star in the Hollywood sense) and its effect on the information s/he is giving us. An important thing pointed out over and over in the works presented here is a concern for what is presented, how it is seen as truth (when it is all too often a very incomplete picture) and the amount of serious consideration the viewer does for him/er self as a result of the conclusive way in which this actually inconclusive information is presented." Contributors include A. 1. Waste Paper Co. (England), Crag Hill (USA), Harry Polkinhorn (USA), Piotr Szyhalski (Poland), Miekal And (USA), Steve Perkins (USA), Chris Winkler (USA), Uta-Maria Krapf (USA), et al. "Mail Review."

No. 21-1 (December 1986). Photocopy. 7 1/2"x6". (32 pages). "The Talking Cure," by Steve Harp (USA). "Steve Harp is a filmmaker and xerox artist who lives in Chicago. His work has appeared in 'PhotoStatic Magazine' #s 5, 6, 7, 9, 10, 11, 12, 13, 14, 16, 19, and 21."

No. 22 (February 1987). Photocopy. 8 1/2"x7". (pages 676-709). "The Anxiety Issue: DisEase Disease...This issue reflects the type of work I have been getting from artists of their own accord, not in response to a call for submissions for another theme. I have been collecting these pieces here for over a year." Contributions by Musicmaster (USA), A. 1. Waste Paper Co. (England), Serse Luigetti (Italy), the editor, et al. Mail Art exhibition project and publication opportunities. "Mail Review."

No. 22-1 (1987). Photocopy. 8 1/2"x5 1/2". (22 pages). "Atollments," by Guy R Beining (USA). "Notes," by Harry Polkinhorn (USA). 

No. 23 (April 1987). Photocopy. 8 1/2"x7". (pages 712-745). "Disinformation." Contributions by Harry Polkinhorn (USA), Malok (USA), Clemente Padin (Uruguay), Miekal And (USA), John R(ininger) (USA), Piotr Szyhalski (Poland), Serse Luigetti (Italy), Mike Miskowski (USA), the editor, et al. Mail Art exhibition, project and publication opportunities. "Mail Review."

No. 23-1 (February 1987). Photocopy. 2 1/2"x2". (32 pages). "Of the Word," by John Heck (USA), a revised edition of an earlier work, based on photocopy manipulation of the New Testament

No. 23-7&8 (May 1987). Photocopy. 8 1/2"x7". (38 pages). "This is not a regular issue of 'PhotoStatic Magazine.' Rather, it is a loving re-hash of old material under a new cover. In the spirit of Retrofuturism, it is named after Sir Henry Fox Talbot's 1844-1846 serially issued book of photographic prints (the first ever) of the same name." "The Pencil of Nature ReIssue No. 7&8/23." Contributions by Crag Hill (USA), Tommy Mew (USA), Minoy (USA), Miekal And (USA), Ryosuke Cohen (Japan), et al. "ReIssue of 'Sprockets' #7 and 'Portraits and Selfportraits' #8."

No. 24 (June 1987). Photocopy. 8 1/2"x7". (pages 748-781). "Urbanality" is more of a title than a theme. It is a kind of collaged word intended to suggest some of the more prevalent themes present in the work I've been getting. Much of it deals with urban culture, because that is the mainstream of America, and probably the world." Contributions by Epistolary Stud Farm (USA), Steven Perkins (USA), Mouche Ecrasée (France), John Rininger (USA), Serse Luigetti (Italy), et al. Mail Art publication opportunities. "Mail Review."

No. 24-2 ([1987]). Photocopy. 7"x5 1/4". (24 pages). Graphics by Linda Bourassa, with a text adapted from R. D. Laing's "Knots." 

No. 25/26 (August 1987). Photocopy (Perfect Bound). 8 1/2"x7". (pages 785-883). Networking Issue. "The network doesn't exist but then you know that. Instead, there are uncountable networks, each overlapping and each with one person at the center. That's the strength of networking: it's both completely individualialist and irremediably social. Each person creates a network based on his or her needs, blended from the support and participation of others doing the same thing. It's communication and exchange but not for personal gain... Perforated postcards made from participating artists work. Contributors include Ruggero Maggi (Italy), Jorge Caraballo (Uruguay), Clemente Padin (Uruguay), Serse Luigetti (Italy), A-1 Waste Paper Co. (England), Arturo G. Fallico (USA), Carol Stetser (USA), John R(ininger) (USA), Ph. Billé (France), Patrick T. (USA), Daniel Plunkett (USA),  et al. "Mail Review." Classic Mail Art/Networking zine.

No. 27 (November 1987). Photocopy. 8 1/2"x7". (pages 886-923). "In recognition of the centenary of the birth of/Marcel Duchamp/who thought it up." Contributions by John Held, Jr. (USA), John E. (USA), John R(ininger) (USA), F. John Herbert (USA), John Heck (USA), Janet Janet (USA), Barry Edgar Pilcher (Wales), Serse Luigetti (Italy), Ivan Sládek (Czechoslovakia), et al. "Report from Madison," by the editor. "Mail Review."  

No. 9.27 ([December] 1987). Photocopy. 8 1/2"x7"). (40 pages). "This is not a regular issue of 'PhotoStatic magazine.' Rather, it is a kind of loving reVision of old xerographic artwork appearing under a slightly new cove. It is the most recent installment in the 'PhotoStatic' ReIssue series, or 'PhotoStatic's attempt to create a living archive of the nearly 1.000 pages of xerographic artwork it has printed over the last four years. One might look up it as a kind of 'Encyclopeadia Xerographica,' appearing in chronological, rather than alphabetical, installments. What you now hold in your hands is a reIssue of 'PhotoStatic Nos. 9 and 9 1/2, or the 'Tele/Video Issue' and 'The Issue Within the Issue,' originally released in January, 1985. This new form is called 9.27 in reference to both issue no. 9 and issue no. 27, after the latter of which it appears chronologically." Contributions by Guy R Reining (USA), Minoy (USA), Mark Pawson (England), Ruggero Maggi (Italy), Mark Bloch (USA), Miekal And and Liz Was (USA),  et al. 

No. 28 (January 1988). Photocopy. 8 1/2"x7". (pages 927-962). "You may have noticed something a little different about this issue of 'PhotoStatic' magazine. that's right, there's another magazine tagging along with it. At the bottom of each and every page, you will find a page of the Tape-beatles' new magazine, 'Retrofuturism.' As far as we know, this is the first time in the history of magazines this has ever happened. This may be the case with the next few issues of 'PhotoStatic' and 'Retrofutrism.' That is, at least until Retrofuturism can find a place of it own...This current issue of 'PhotoStatic' is entitled "Test Patterns for the Human Mind. The artists who contributed work have, as always, had a significant role in defining what this issue is about." contributions by Piotr Szyhalski (Poland), A.1. Waste Paper Co. (England), Dazar (USA), Steve Perkins (USA), Chris Winkler (USA), et al. "Mail Review." Manifesto and "intentions" of Anonymous International. "Retrofuturism" ends with "THE AVANT-GARDE COLLAPSES HERE."

No. 28-1 (April 1988). Photocopy. 8"x6". (28 pages). "10,000 Dreams," by Bob Gregory (USA).

No. 28-2 (1988). Photocopy. %"x3 1/2". (24 pages). "Cave Paintings," by Chris Winkler.

No. 29 (March 1988). Photocopy. 8 1/2"x7". (pages 996-1003). "Well, there have been rather mixed reactions to the Tape-beatles' gradual takeover of 'PhotoStatic' editorial duties and this is good. If a change goes uncontested after all, you can be very sure nothing significant has really changed. Some saw the addition of a strip of information at the bottom of the page as a distraction, indeed a subtraction from the qualities of the work carried above. Although Ll. Dunn has in the past referred to PhotoStatic as a 'gallery' of xerographic work, it no longer seems to him that using a magazine as a gallery is a very good use of the magazine medium." Contributions by John Rininger (USA), Antonio Ladra (Uruguay), Jorge Caraballo (Uruguay), Chris Winkler (USA), John Eberly (USA), Pete Spense (Australia), Ivan Sládek (Czechoslovakia), et al. "Mail Review." Accompanied by the second issue of "Retrofuturism."

No. 29-1 (March 1988). Photocopy. 5 1/2"x4 1/4". (16 pages). "The Personality Painter's Apprentice," by Jesse Lee Kercheval (USA).

No. 30 (May 1988). Photocopy. 8 1/2"x7". (pages 1006-1043). "This issue of 'PhotoStatic/Retrofuturism' represents a different approach to xerox art than has been attempted on these pages before. The Call for Submissions for this, the 'Unfinished Symphonies' issue asked specifically for unfinished work. The editorial intent was to assemble fragments of ideas or incomplete notions or concepts and put them together to form a collective whole, where the bids are hard to extract from the whole." Contributions by Arturo G. Fallico (USA), Steve Perkins (USA), Mark Rose (USA), Philippe Billé (France), Musicmaster (USA), Ivan Sládek (Czechoslovakia), John Held, Jr. (USA), et al. "Mail Review." Includes, "Retrofuturism," No. 3.

No. 31 (July 1988). Photocopy and Rubber Stamp. 8 1/2"x7". (pages 1070-1107). The "Plagiarism" Issue. "Is Plagiarism Necessary," by the editor. "Plagiarism," by Harry Polkinhorn (USA). "Work is Your God," by Mark Rose (USA). Contributions by Alessandro Aiello (Italy), John E. Mumbles(USA), Musicmaster, et al. Reviews. Listings of publications. Letters to the editor. Mail Art exhibition, project and publication opportunities. Includes, "Retrofuturism," No. 4. "Meet Retrofuturism," by the editor.

No. 32 (September 1988). Photocopy. 8 1/2"x7". (pages 1111-1154). "Existentialism and the Illusion of Choice," issue. Contributions by Alessandro Aiello (Italy), Jürgen Olbrich (Germany), Musicmaster (USA), Guy R. Beining (USA), et al. "Why," by Mark Rose (USA), discusses the reasons for entering and continuing mail Art. "Mail Review." "Announcements," lists Mail Art exhibition, project and publication opportunities. Includes, "Retrofuturism," No. 5. "'PhotoStatic' intends to continue for the foreseeable future doing what it has been doing, which is to provide creators of culture in farflung parts of five continents with a place to make their views known...with no requirement made of them that they be well-known, or well-exhibited, or well-discussed in the 'proper circles.'"

No. 33 (November 1988). Photocopy and Mixed Media. 8 1/2"x7". (pages 1158-1203). "Cultural Property," issue. Contributions by John R(ininger) (USA), Jack Moskovitz (USA), Piotr Szyhalski (Poland), Ph. Billé (France), Serse Luigetti (Italy), Bob Grumman (USA), Thom Metzger (USA), Miekal And (USA), et al. "Readers Comments." "Mail review." "Announcements," lists Mail Art exhibition, project and publication opportunities.

No. 34 (February 1989). Photocopy. 8 1/2"x7". (pages 1206-1251). The "Detourned," issue. "Art Strike, 1990-1993." "We call for all artists in the U. S. to put down their tools and cease to make, distribute, sell, exhibit or discuss their work from Jan. 1, 1990 to Jan. 1, 1993. We call for all galleries, museums, agencies, alternative spaces, periodicals, theaters, art schools etc., to cease all operations for the same period." Contributions by Janet Janet (USA), Serse Luigetti (Italy), Musicmaster (USA), Brad Goins (USA), et al. "Letters to the Editor." "Print Reviews." "Audo Reviews." mail Art exhibition, project and publication opportunities. "Kopy Kultur," a proposal  for a source book on "xerography," put forth by the editor and Steve Perkins (USA). Includes, "Retrofuturism," No. 7.

No. 34-2 (March 1989). Photocopy and Mixed Media. (50 pages). "'Wakest Aims? Kind Law & Zeal!' is a composite assembling of styles of visual information. This book is a collaboration between Liz Was & Miekal And (Madison, WI) & Michael Helsem (Dallas, TX). the history of its construction is a systematic puzzle. Spanning some 3 years since its beginning, they have deliberately contrasted the hand-drawn with the computer-generated, the cave painting with the graffiti..."

No. 35 (April 1989). Photocopy. 8 1/2"x7". (pages 1254-1303). "Repetition Breeds," issue. "Traces, Imprints and Vestiges," by Christian Rigal (France). "Awake at a Noise Above," by Miekal And (USA). Contributions by John Eberly (USA), Chris Winkler (USA), Clemente Padin (Uruguay), Arturo G. Fallico (USA), Malok (USA), Luke McGuff (USA), Ruggero Maggi (Italy), et al. Print reviews and listing. Letters to the editor. Includes "Retrofuturism," No. 8. "Art Strike: Karen Eliot Interviewed by Scott MacLeod (1989)."

No. 35-1 ([May 1989]). Photocopy. 8 1/2"x5 1/2". (20 pages). "Works of art are like questions or problems put by their inventor to the public at large." Crossed out text with selected phrases left intact. Uncredited, but probably by John Stickney (USA).

No. 35-2 (May 1989). Photocopy. 8 1/2"x5 1/2". (52 pages). "Brief Eternities," by Tom Hibbard (USA).  

No. 36 (June 1989). Photocopy. 8 1/2"x7". (pages 1306-1355). "Expand the Network" issue. "Letters to the Editor." "Vizlature: A Column on Verbo-Visual Art," by Bob Grumman (USA). "Alternoise," by Miekal And (USA) Contributions by Pandora's mailbox (USA), Mark Pawson (England), Crag Hill (USA), John Rininger (USA), Luke McGuff (USA), Paul Weinmann (USA), et al. Print reviews and listings. Mail Art exhibition, project and publication opportunities. Includes, "Retrofuturism," No. 9.

No. 37 (August 1989). Photocopy and Mixed Media. 8 1/2"x7". (pages 1358-1407). "Letters to the Editor." Contributions by Al Ackerman (USA), José Vanden Broucke (Belgium), Xeroxial Endarchy (USA), Stewart Home (England), Joel Lipman (USA),  Serse Luigetti (Italy), A-1 Waste paper Co. (England), et al. "Polynoise," by Miekal And (USA). "Art Strike 1990-1993," by Stewart Home (England). "Popular Culture is the Walrus of the Avant-Garde," by John Heck (USA). "Neoism 101." "Print Reviews." "Audio Reviews." mail Art exhibition, project and publication opportunities.

No. 38 (October 1989). Photocopy. 8 1/2"x7". (pages 1410-1455). "Letters to the Editor," including "Origins of Neoism Illuminated," by Al Ackerman (USA). "PhotoStatic on Art Strike (1990-1993), by the editor. "'PhotoStatic Magazine' (which includes 'PhonoStatic Cassettes') will participate in the three-year Art Strike, which has been publicized and discussed in these pages and elsewhere. To that end, the next issue of 'PhotoStatic,' No. 39, will be the last to appear for three years. However, I am eager to continue my correspondence activity, believing it to be a good way to carry on the discussion on a critical, and interpersonal level." "The Festival of Plagiarism, Glasgow, Scotland, August 4-11, 1989," by the editor. Contributions by Elizabeth Was (USA), mark Pawson (England), Philippe Billé (France), et al. "Print Reviews." Includes, "Retrofuturism," No. 11.

No. 39 (December 1989). Photocopy. 8 1/2"x7". (pages 1463-1494). Contributions by Serse Luigetti (Italy), Joe Schwind (USA), Dominique LeBlanc (France), Malok (USA), Jean-Françoise Robic (France), Pandora's Mailbox (USA), Philippe Billé (France), et al. Mail Art exhibition, project and publication opportunities. Front and back covers by Mark Pawson (England).

No. 39 (December 1989). Photocopy. 8 1/2"x7". (pages 1463-1494). Variant cover of the above. 

No. 40 (December 1989). Photocopy. 8 1/2"x7". (pages 1497-1528). "An Apology from the Editor of PhotoStatic Magazine." "When I announced my intention of joining the Art Strike during the years of 1990-1993, it was my honest wish to communicate my interest in doing something more in the cultural sphere than simply put out a 'little magazine.' This was not an effort on my part to devalue the contribution that small publications make; indeed I stand more committed than ever to that vision. Make no mistake: I still intend, through 'PhotoStatic,' to participate in this (in)action; this writing is simply an attempt to clarify my position on the Art Strike and 'PhotoStatic's' participation in it." "Letters to the Editor." "On Difficulty in Verbal visual Art," by harry Polkinhorn (USA). "Rotational Situationism: 'Levi-Strauss' Style," by Al Ackerman (USA). "The Theory of the Second Publicity and Its Relation with the Elite Art and the Anti-Publicity," by Géza Perneczky (Germany). "Reviews." "Art Strike 1990-1993 Information." mail Art exhibition, project and publication opportunities. "In 1993, the editor of 'PhotoStatic' intends to resume its bimonthly schedule of publishing graphic art work and critical texts taylored for the reprographic page. To that end, we will continue to accept submissions to be considered for inclusion in #41...'Retrofuturism' will separate from PhotoStatic, beginning with #12. Since it is edited by the Tape-beatles, who are not participating in the Art Strike, it will continue as a sporadic during the years of the strike...The editor remains philosophically committed to the idea of the small scale, non-commercial press in not only disseminating, but also stimulating dialog between parties which might otherwise remain insular and local. To that end, the activity must continue. It is the specialization of 'art' that must be rejected..."  

No. 41 (January 1993). Photocopy. 8 1/2"x5 1/2". (pages 1792-1813). "Editorial," by Lloyd Dunn. "'PhotoStatic magazine' has been gone for three years. It has remained invisible and silent during the years 1991-1993 in support of the 'Art Strike' (1990-1993). Called for in 1987 by the 'Praxis group,' the Art Strike sought to call into question the role of the artist in the current predicament that is contemporary culture...I am not going to sum up what the Art Strike's 'successes' and 'failures' are; these issues have been too thoroughly covered in the newsletter 'YAWN,' which replaced 'PhotoStatic' during its hiatus." "Report from the International Zine Show, Iowa City, September 1992," by Stephen Perkins (USA). "Print Reviews." "Audio Cassette reviews." Contributions by Jean-Françoise Robic (France) and Serse Luigetti (Italy).                     

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Photostatic Retrofuturist, The. Lloyd Dunn, Editor. Iowa City, Iowa. 1997.     

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

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PhrenQuellonium: A Quarterly Arts Review. Steve Frenkel, Editor. Roswell, Georgia. 1990-1991.

Vol. 1, No. 1 (April 1990). Computer Print. 11"x8 1/2". (2 pages). "Mac Publication for Luddites Launched Today." "You say I've been out of the loop for the past few months. and you are right. I did my last mail artwork for "Art/Life' in November. Reviews. Rubber stamp designs by the editor for Stampa Barbara.

Vol. 1, No 2 (June 1990). Computer Print, Rubber Stamps and Mixed Media. 11"x8 1/2". 4 pages. "Eraser Carving News." Reviews. "My abandonment (temporary or permanent) of the mail art avocation has left many of my friends with a void I used to regularly send out all this visual stuff..."

Vol. 1, No. 3 (October 1990). Computer Print and Rubber Stamps. 11"x8 1/2". 4 pages. "My call for submissions from readers was met with resounding silence."

Vol. 1, No. 4 (December 1990). Computer Print and Rubber Stamp. 11"x8 1/2". (4 pages). "Larry Angelo of New York City sent in his reviews with a comment, '...it seems odd to request only writings for a gang of, presumably, visual people!' You're right Larry, readers are invited to send in visual material, keeping in mind that we are 'copying' from (generally speaking) reduced photocopies." Contribution by Kay R. Sluterback (USA).

Vol. 2, No. 1 (April 1991). Computer Print and Rubber Stamp. 11"x8 1/2". (4 pages). "'PDQ' began as an outgrowth of my passion for correspondence. After writing close to two thousand letters in five years, I was pretty burned out. Doing a newsletter seemed more efficient." Contributions by Larry Angelo (USA), et al.

Vol. 2, No. 2 (July 1991). Computer Print and Rubber Stamp. 11"x8 1/2". (4 pages). Contributions by Leavenworth Jackson (USA), et al. Eraser carvings by the editor.

Vol. 2, No. 3 (Autumn 1991). Computer Print and Rubber Stamp. 11"x8 1/2". (2 pages). Report of a visit to Bookbeat bookstore in Oak Park, Michigan. 

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PIPS: Zeitshrift für UnZeitgist & UnKomMerz. Claudia Pütz, Editor. Pops-Dada-Corporation, Bonn (West Germany). 1992-1995.

"...is an artist magazine with original-contributions. There are mail-art-works of 40-50 artists and authors in each issue, signed and numbered in all possible technics. The magazine is a forum for exchange and communication for all networkers, mail-artists and (visual poetry-)authors. It tries to open contacts and collaborates internationally with other publications. please send 130 originals 21x29,7 cm, any media, visual & experimental poetry international...Every participant receives 1 original-issue of PIPS (incl. all works)."

No. 1/92 (January/February/March/April 1992). Mixed Media. 13 1/2"x 10 1/4". Unpaged. Assembling magazine. Theme: Herz & Merz. Contributions by 50 artists from 9 countries including Robin Crozier (England), Guillermo Deisler (East Germany), PLG Frieslaender (West Germany), Briitta Heidimann (West Germany), Peter W. Kaufmann (Switzerland), Ruth Knecht (West Germany), Ruggero Maggi (Italy), Carlos Montes de Oca (Chile), Jürgen Olbrich (West Germany), Jose Oliveira (Portugal), Marcel Stüssi (Switzerland), Harald "Sack" Ziegler (Germany), et al. Edition 117/130.

No. 2/94 (May/June/July/August/September 1994). Mixed Media. 13"x9 3/4". Unpaged. Assembling Magazine. Theme: Newspaper. Contributions by Hartmut Andryczuk (Germany), Theo Breuer (Germany), Hans Braumüller (Germany), Marcello Diotallevi (Italy), Antonio Gomez (Spain), Carola V. D. Heyden (Holland), Litsa Kaschaw-Spathi (Germany), Ruggero Maggi (Italy), Merz Mail (Spain), Jürgen Olbrich (Germany), Klaus Rupp (Germany), Ashley Parker Owens (aka Soapbox Junction) (USA), Marcel Stüssi (Switzerland), Georgine Margareta Witta (Denmark), et al. Edition 130.

No. 3/94 (October/November/December 1994). 13"x9 3/4". Unpaged. Assembling magazine. Theme: Souvenir. Contributions by 43 artists from 9 countries including Theo Breuer (Germany), Patricia Collins (England), M, B. Corbett (USA), David Dellafiora (England), Phan Kim Dien (France), Marcello Diotallevi (Italy), Franzobel (Austria), Marcel Herms (Germany), Litsa Kaschau-Spathi (Germany), Carlos Montes de Oca (Chile), Marcel Stüssi (Switzerland), Lutz Wohlrab (Germany), et al. Edition 79/130.    

No. 3/95 (September/October/November/December 1995). Mixed Media. 13"x10". Unpaged. Assembling magazine. Theme: Buss- & Bettag - Box. Contributors include Anna Banana (Canada, Keith Bates (England), Theo Breuer (Germany), Patricia Collins (England), Robin Crozier (England),  David Dellafiora (England), Antonio Gomez (Spain), K. Frank Jensen (Denmark), Jürgen Olbrich (Germany), Leanda Ryan (England), Georgine Margareta Witta (Denmark), et al. Includes  ten-page booklet with listing of contributors and short biographies of each. "Mail & Art News," includes Mail Art exhibition, project and publication opportunities. "Editorial." "The cover object of this issue is remarkable: an original Polish dancing music disc from the sixties..." Edition 68/130.

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Place Stamp Here: A Literary Magazine on Postcards-Visual Poetry. K. S. Ernst, Editor. Press Me Close, Farmingdale, New Jersey. 1982-1983.

No. 0 (1982). Offset. 6"x4". (6 postcards). Contributions by John M. Bennett (USA), Ernie Ernst (USA), and K. S. Ernst (USA). Postcard by Bennett missing.

No. 1 (Spring 1983). Offset. 6"x4". (8 postcards). Contributions by C. Mehrl Bennett (USA), David Cole (USA), Ernie Ernst (USA), Jerry Madson (USA), Derek Pell (USA), Bern Porter (USA), and Marilyn R. Rosenberg (USA).

No. 2 (Fall 1983). Offset. 6"x4". (7 postcards). Contributions by John M. Bennett (USA), K. S. Ernst (USA), Scott Helmes (USA), Jerry Madson (USA), Mick Mather (USA), Bern Porter (USA), and Laurie Wechter (USA). 

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Planet Roc: An Alternative Arts Journal. Simone Bouyer and Stephanie Coleman, Editors. Wholesome Roc Gallery, Museum & Cafe, Chicago, Illinois. 1990-1993.

Vol. 2, No. 5 (June 1990). Photocopy. 8 1/2"x7". 19 pages. Desktop published, the "Monthly Newsletter of Wholesome Roc Gallery, Museum & Cafe," is the only instance of a woman of color editing a Mail Art related periodical. The zine reflects the interests of their experience, featuring a social and political awareness (and a cooking column) rarely encountered in the field. This issue: "Art, Poetry and Music From Behind Prison Walls."

Vol. 2, No. 7 (July/August 1990). Photocopy. 8 1/2"x7". 19 pages. "The Freedom Issue/The People of Color Issue." Notice for the Mail Art exhibition, "Sexism, Racism, Classism," by Ashley Parker Owens (USA), editor of "Global Mail."

Vol. 2, No. 8 (September 1990). Photocopy. 8 1/2"x7". 19 pages. "The Industrial Issue." Notice for the Mail Art exhibition, "Gay Mail Art," organized by the Minneapolis based, GM Artists.

Vol. 2, No. 10 (December 1990). Photocopy. 8 1/2"x7". 19 pages. "The Kwanzaa Exhibit."

Vol. 3, No. 2 (February/March 1991). Photocopy. 8 1/2"x7". 17 pages. "The Amazonic Liberation Issue." Includes the graphic, "Mail Art for Peace," by Caudine Barbot (USA).

Vol. 3, No. 3 (May/June 1991). Photocopy. 8 1/2"x7". 19 pages. "What is Wholesome?" issue. cover by Mike Duquette (Canada). Documentation of the "What is Wholesome: International Mail Art Exhibit," at Planet Roc Cafe, Gallery and Museum, organized by the editors. Reproduced contributions by Carroll Brooks (USA), Ruggero Maggi (Italy), Claudine Barbot (USA), Clemente Padin (Uruguay), Chris Dodge and Jan DeSirey (USA), Fa Ga Ga Ga (USA), A1 Waste Paper Co. (England), Ashley Parker Owens (USA), Marcel Stüssi (Switzerland), Marcello Diotallevi (Italy), John Held, Jr. (USA), Guillermo Deisler (East Germany), Ryosuke Cohen (Japan), et al.

Vol. 3, No 4 (July/August 1991). Photocopy. 8 1/2"x7". 23 pages. Contributions by Ruggero Maggi (Italy), Clemente Padin (Uruguay), and Claudine Barbot (USA). Notice for the "Decentralized World-Wide Networker Congress 1992."

Vol. 3, No. 5 (September/October 1991). Photocopy. 8 1/2"x7". 23 pages. "The Provoked issue!" Notice for "Acts of Rebellion," Mail Art project, organized by Ashley Parker Owens (USA).

Vol. 4, No. 2 (March/April 1992). Photocopy. 8 1/2"x7". 23 pages. "The Spiritual Issue." Contributions by Carroll Brooks (USA), Ruggero Maggi (Italy), et al. Mail Art exhibitions and project opportunities in the "Journal," column, by editor Simone Bouyer.

Vol. 4, No. 3 (May/June 1992). Photocopy. 8 1/2"x7". 23 pages. "The Spring Thing issue." Contributions by Jesse Edwards (USA), Larry Huber (USA), Claudine Barbot (USA), et al. R. Seth Friedman's "(USA) "Food for Thought," zine mentioned in "Food."

Vol. 4, No 4 (July/August 1992). Photocopy. 8 1/2"x7". 23 pages. "The Logical Issue." contributions by Ruggero Maggi (Italy), Larry Huber (USA), Ruggero Maggi (Italy), et al. Notice for, "International Zine show, curated by Stephen Perkins (USA), and "Fe-Mail-Art," exhibition at the Stamp Art Gallery, San Francisco.

Vol. 4, No. 5 (September/October 1992). Photocopy. 8 1/2"x7". 23 pages. "The Political Issue." Contribution by Ruggero Maggi (Italy). Mail Art exhibition opportunities.

Vol. 4, No. 6 (November/December 1992). Photocopy. 8 1/2"x7". 23 pages. Documentation of the, "What is Unity?," Mail Art exhibition at Planet Roc, organized by the editors. reproduced contributions by Jaqueline Wolven (USA), Claudine Barbot (USA), David Dellaflora (England), Carlos Urbina (Spain), Fa Ga Ga Ga (USA), J. B. Dodd (USA), Crackerjack Kid (USA), Jo-Anne Echevarria Myers (USA), Mike Dyar (USA), et al. 

Vol. 4, No. 7 (January/February 1992). Photocopy. 8 1/2"x7". 23 pages. "Propaganda" issue. Contributions by A1 Waste Paper Co. (England), Fa Ga Ga Ga (USA), et al. "Junk mail," by Chris Dodge (USA) and Jan DeSirey (USA).

Vol. 5, No. 2 (March/April). Photocopy. 8 1/2"x7". 23 pages. "It's a Mail Thang," issue. contributions by Clemente Padin (Uruguay), Malok (USA), Buttons (USA), John M. Bennett (USA), et al. Mail Art news in "Journal."

Vol. 5, No. 3 ([July 1993]). Photocopy. 8 1/2"x7". 23 pages. "The International Women's Rights Issue." Contributions by Popovic Predrag (Yugoslavia), Desirey-Dodge Post (USA), et al.

Vol. 5, No. 4 ([September 1993]). Photocopy. 8 1/2"x7". 23 pages. "The Cooperative Issue." Contributions by John Held, Jr. (USA), et al. "About Art and Nature," by Raphael Nadolny (Poland).

Vol. 5, No. 5 ([November 1993]). Photocopy. 8 1/2"x7". 23 pages. "The Work Issue." Contributions by Clemente Padin (Uruguay), Raphael Nadolny (Poland), et al.  

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PMTTD's Standard Catalogue Update. Dominique (Bugmaster General), Editor. PMTTD Corporation, Seattle, Washington. 1993.

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

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Po. Michael Wolstat, Editor. Po Publications, Portland, Maine. 1992-1993.

No. 1 (n.d.). Photocopy. 5 1/2"x4 1/4". (24 pages). The "Internal/External" issue. Photocopy art. Contributors include Amalgam X (USA), David Pearson (USA), Phil Spirito (USA), Rebecca Lelaurain (USA), Joe Butler (USA), and the editor.

No. 2 (February 1992). Photocopy. 5 1/2"x4 1/4".  (28 pages). The "Transmission" issue. Contributions by Amalgam X (USA), Arte A La Carte (USA), Rïce Freeman-Zachery (USA), et al.

No. 3 (March 1992). Photocopy. 6"x4 1/2". (24 pages). The "Strike" issue. Formatted as a matchbook. Contributions by Guy Capecelatro III (USA), Peter McCarthy (USA), the editor, et al.

No. 4 (May 1992). Photocopy. 5 1/2"x4 1/4". (28 pages). The "Math" issue. Contributors include Larry Angelo (USA), afungusboy (USA), David Hunter (USA), the editor, et al.

No. 5 (July 1992). Photocopy. 5 1/2"x4 1/4". 22 pages. The "Process/Product" issue. Contributors include Reed Altemus (USA), Arto Posto (USA), the editor, et al. "Networking" lists "Zines" and "Mail Artists." 

No. 6 (August 1992). Photocopy. 5 1/2"x4 1/4". 24 pages. The "Absurd Theater" issue. Contributors include Stampmeister Kevin (USA), Mono (USA), afungusboy (USA), et al. "Networking" includes "Mail Artists," "Rubber Stamps," "Zines," and "Cassettes."

No. 8 (December 1992). Photocopy. 5 1/2"x4 1/4". 23 pages. "The Craft," issue. contributors include Amanda Lewis (USA), Ishkabibbel (USA), Mono (USA), the editor, et al. "Networking" includes names and addresses of Mail Artists and their specialties. (i.e., A-1 Waste Paper Co.-Rubber Stamp Exchange and Zine Trade, Mail Art).

No. 9 (January 1993). Photocopy. 5 1/2"x4 1/4". (28 pages). Contributors include Stampmeister Kevin (USA), Tensetenendoned (USA), Haddock (USA), Mono (USA), JK Post (aka Jonas Kover) (USA), Larry Angelo (USA), et al. "Networking" includes names and addresses of contributors.

No. 12 (May 1993). Photocopy. 5 1/2"x4 1/4". 24 pages. The "Birds and Bees," issue. contributors include afungusboy (USA), Michel Pollard (Indonesia), State of Being (USA), Musicmaster (USA), Schmuel (USA), Michael Leigh (England), Peter Brandt (Germany), et al. "Networking" includes names and addresses of contributors. 

No. 14 (Autumn 1993). Photocopy. 5 1/2"x4 1/4". (28 pages). "My Summer Vacation" issue. "'Po' isn't usually like this. for the most part it is full of work from friends and correspondents. Because I have been moving and on the road I have not been mailing anything to anyone, and mail karma dictates that those who send no mail receive no mail. It just seemed natural that this issue be about my collection of experiences on the road. I hope that this won't discourage any potential contributors."      

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Poesia en Circulacion/Poetical Network. César Espinosa, Editor. Mexico City, Mexico. 1983-1985.

No. 3 (April 1983). Photocopy and Rubber Stamp. 8 1/2"x6 3/4". (4 pages). "Uruguay." Visual poetry by Uruguayan artist Clemente Padin.

No. 4 (April 1983). Photocopy and Rubber Stamp. 8 1/2"x6 3/4". (4 pages). "Portugal." Visual poetry by Portuguese artist Abilio-José Santos.

No. 9 (Summer 1985). Photocopy. 8 1/2"x6 3/4". (8 pages). "Mexico." Visual poetry by Mexican artists Leticia Ocharán, César Espinosa, and Ma. Eugenia Guerra.

No. 10 (Summer 1985). Photocopy. 8 1/2"x6 3/4". (8 pages). "Chile (Exilio)." Visual poetry by exiled Chilean artist Guillermo Deisler (Bulgaria).Includes an essay by Deisler, "Sobra la Poesia Visual en Sudamerica," and a brief biographical text on the late artists.  

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Poezine. Avelino de Araujo, Editor. Natal, Brazil. 1993.

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

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Popular Reality. David Crowbar/Susan Poe (aka Rev. Suzie Crowbar), Editor. Ann Arbor, Michigan; Lansing, Michigan. 1986-2000.

No. 15 (October-November 1986). Newsprint. 17 3/4"x11 1/4". (28 pages). Contributions by Joe Schwind (USA), Al Ackerman (USA), Pat Fish (USA), Jack Saunders (USA), Church of the SubGenius (USA), et al. "Mailing There Way Into Anarchy." by Bob Black (USA). Letters to the editor by Hakim Bey (USA), Eel Leonard (aka Al Ackerman) (USA), et al.

(1994). Color and Black & White Photocopy. 8 1/2"x5 1/2". (24 pages). "The Big Shmooze: Friday thru Monday August 5-8, 1994." Report of a meeting by "Popular Reality" contributors and friends including Al Ackerman, John M. Bennett (USA), Simeon Stylites (USA), Ashley Parker Owens (USA), Bob Grumman (USA), Roger Jackson (USA), Any Salyer, Caleb Son of Crowbar (USA), et al. 

Special Report ([1996]). Newsprint. 17"x11 1/2". (10 pages). "Big Bad Bob Black: A Popular Reality Special Report," chronicles the misadventures of the author with Jim Hogshire. "My Date With Jim Hogshire," by Bob Black (USA). "Don't have a life of your own? Need to live vicariously through the soap-opera adventures of others? Have a deep need for minor, unimportant attention? Think you're hot shit? Like Irreverend Crowbar, you could vent your inconsequential fourth-hand opinions on this whole matter in a wonderful follow-up supplement to this special report to be to be issued in a few weeks." Enclose, a letter from Bob Black to the editor of "Global Mail."

Special Report Supplement ([1996]). Newsprint. 17"x11 1/2". 11 pages. More on the controversy between Bob Black (USA) and Jim Hogshire (USA). Contributions by Adam Palfrey (USA), Bob Black (USA), Al Ackerman (USA), Farm Pulp (USA), Jack Saunders (USA), et al.

(1997). Photocopy. 11"x8 1/2". (16 pages). "Randy Tin-Ear Speaks-to Himself." A special issue recounting the misunderstandings between the editor and Rev. Randy Tin-Ear, the editor of "The Angry Thoreauan." Contributions by Al Ackerman (USA), John Held, Jr. (USA), Malok (USA), John M. Bennett (USA), Bob Black (USA),  et al.       

Vol. 386, No. 8 ([1997]). Photocopy. 8 1/2"x5 1/2". 50 pages. "The Ultimate Sex Magazine!" "2,976 Vienna Sausages," a short story by Al Ackerman (USA), illustrated in comic book form by E. J. Barnes (USA). "PEZ: Pederasty Excitement Zone," by Hakim Bey (USA). "My Date with Irrev. Suzie Crowbar," by bob Black (USA). "The jack Saunders School of fiction Writing." "The Homo-Erotic Mail Art of Jim Hogshire." Rev. Randall Tin-Ear vs. the editor, and visa-versa.

Vol. 436, No. 1 ([1998]). Newsprint. 17"x11 1/2". 12 pages. "Introductory Brag by Bob Black." Contributions by Al Ackerman (USA), Jack Saunders (USA ), Musicmaster (USA), Jake Berry (USA), et al.

Vol. 436, No. 2 ([1998]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Art Maggots (USA), Malok (USA), Al Ackerman (USA), et al. Listing of other Popular Reality publications.

Vol. 436, No. 3 ([1999]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Al Ackerman (USA), Jack Saunders (USA), John M. Bennett (USA), Jake Berry (USA), Bob Black (USA), et al. "My Date with John Fliss and Bob Black," by Suzy Crowbar.

Vol. 436, No. 4 ([1999]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Al Ackerman (USA), Ralph Delagado (USA), et al.

Vol. 436, No. 5 ([1999]). Newsprint. 17"x11 1/2". 12 pages. Contributions by al Ackerman (USA), Snow White (Jung) (England), John M. Bennet (USA), Jake Berry (USA), The Sticker Dude (USA), et al.

Vol. 436, No. 6 ([1999]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Ralph Delgado (USA), Jack Saunders (USA), Jake Berry (USA), John M. Bennett (USA), Malok (USA), et al. "Bob black's Anarchy After Leftism: A Proloegomena to Any Surrealist Law," by Kirby Olson (USA). "Suzy Goes to the Dentist-or-What I Really Did the First Year After My Sex-Change," by the editor. 

Vol. 436, No. 7 ([2000]). Newsprint. 17"x11 1/2". 12 pages. Contributions by Al Ackerman (USA), Jack Saunders (USA), Malok (USA), et al. "My Date with John M. Bennett," by Suzy Crowbar. "Neoist Misalliance," by tENTTIVELY a cONVENIENCE (USA).         

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Post/Arte. César Espinosa, Editor. Colectivo-3, Mexico City, Mexico. 1982-1984.

No. 1-A (January 1992). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus insert). Reprint from an article reviewing the Mail Art Exhibition, "II Muestra Internacional de Tarjetas Postales del CRAAG," organized by Aarón Flores (Mexico) and Blanca Noval (Mexico). Contributions by Roxy Gordon (USA), Vittore Baroni (Italy), Daniele Ciullini (Italy), Tóth Arpád (Hungary), A. De Araujo (Brazil), Wulle Komsumkurst (Germany), et al. Insert includes the essay, "Arte-Correo," by the editor.

No. 2-B (March 1982). Photocopy and Rubber Stamps. 8 1/2"x4 1/2". (6 pages). Participant list for the exhibition, "REV-O-LUCION," a Mail Art show curated by Colectivo-3 (Mexico). Contributions by chuck Stake (Canada), Damaso Ogaz (Venezuela), Pierre-Alain Hubert (France), E(mmett) Walsh (USA), A De Araujo (Brazil).

No. 3 (May 1982). Photocopy and Rubber Stamps. 8 1/2"x4 1/2". (6 pages). Contributions by Scott Helms (USA), John P. Jacobs (USA), Piotr Rypson (Poland), Salvatore De Rosa (Italy), Daniel Ciullini (Italy), Bengt Adlers (Sweden), et al. Mail Art exhibition opportunities.

No. 4 (August 1982). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus insert). Contributions by Aaron Flores (Mexico), Luis (Brazil), Gabor Toth (Hungary), A De Arujo (Brazil), Damasco Ogaz (Venezuela), Robert Rehfield (East Germany), Lon Spiegelman (USA), et al. Insert with texts by Louise Neaderland (USA) and Romano Peli (Italy), "First International Mail-Art Manifesto."

No. 5 (October 1982). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus insert). Contributions by Michael Groschopp (West Germany), Ray Johnson (USA), Ivo Antic (Yugoslavia), Amy Hamouda (Canada), Albuquerque Mendes (Portugal), Louise Neaderland (USA), Daniel Daligand (France), et al. Insert with Mail Art exhibition project and publication opportunities.

No. 6 (December 1982). Photocopy, Rubber Stamps and Mixed Media. 8 1/2"x4 1/2". (6 pages, plus insert). Contributions by Pat and Dick Larter (Australia), Michele Perfetti (Italy), Guy Bleus (Belgium), Mauricio Guerrero (Mexico), Giovanni Fontana (Italy), Filimir (Yugoslavia), Lon Spiegelman (USA), Daniele Ciullini (Italy), et al. Insert with "M. A. Messages: A Short Uncompleted Chronology," by Günther Ruch (Switzerland), and "International Mail Art Manifesto: 1962/1982: New York-Parma," by Romano Peli and signed by 24 artists from 10 countries.

No. 7 (January 1983). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus insert). Contributions by Pablo Del Barco (Spain), Aloys Ohlmann (West Germany), Jose De Santiago (Mexico), Hans Nevidal (Austria), Dobrica Kamperelic (Yugoslavia), Ubaldo Giacomucci (Italy), Salvatore De Rosa (Italy), Marisa Da Riz (Italy), et al. Insert include Mail Art exhibition, project and publication opportunities.

No. 8 (March 1983). Photocopy and Rubber Stamps. 8 1/2"x4 1/2". (6 pages, plus insert). Contributions by Ray Johnson (USA), Jas. Duke (Australia), Janice Peshke (Canada), Guillermo Deisler (Bulgaria), Louise Neaderland (USA), Ruggero Maggi (Italy), Birger Jesch (East Germany), Timo Malen (Finland), et al. Insert contains texts by Guillermo Deisler (Germany), "Algunas Explicaciones Acerca Del 'Arte Por Correo,'" Dámaso Ogaz (Venezuela), and Carol Pittore (USA), in response to the editor's project, "Mail Art/ Debate-Inquest."

No. 9 (July 1983). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus two inserts). Contributions by M(ichael) Hyatt (USA), Joaquim Branco (Mexico), Arno Arts (Holland), Dobrica Kamperelic (Yugoslavia), DJ at FOMT (Ireland), Albrecht/d (West Germany), Clemente paid (Uruguay), et al. Inserts include responses to the editor's request for texts on "Mail Art/Debate-Inquest," with contributions by Clemente Padin, "Arte Correo: Un Pretexto Para la Unidad," Ruggero Maggi (Italy), and Antonio Ladra (Uruguay. Second insert lists mail Art exhibition, project and publication opportunities.

No. 10-11 (December 1983). Photocopy. 8 1/2"x6 3/4". (8 pages, plus two inserts). Special edition on Yugoslavia. Contributions by Yugoslavian Mail Artists Branco Cegec, Katalin Ladik, Westeast, Vuk Gligorijevic, Balint Szombathy, Miroljub Todorovic, Slavko Matkovic, Lela Mujkic, Andrej Tisma, Vlasta Delimar, et al. First insert lists chronological avant-garde movements in Yugoslavia and a contribution by Dobrica Kamperelic (Yugoslavia). Second insert contains a text by Miroljub Todorovic, "Artist's Postage Stamps," and a listing of mail Art exhibition, project and publication activities.

No. 12 (May 1984). Photocopy and Rubber Stamp. 8 1/2"x6 3/4". (4 pages, plus insert). Contributions by P. J. Rieiro (Brazil), Birger Jesch (East Germany), Michael Groschopp (East Germany), Leonhard Frank Duch (Brazil), S. Gustav Hagglund (USA), Dobrica Kamperelic (Yugoslavia), Barry Edgar Pilcher (Wales), et al. Insert lists Mail Art exhibition, project and publication opportunities.

No. 13 (October 1984). Photocopy and Rubber Stamps. 8 1/2"x6 3/4". (4 pages, plus insert). Contributions by Stephen Ronan (USA), Volker Hamann (West Germany), N. N. Argañaraz (Uruguay), harry Fox (USA), et al. "First Report" of the Mail Art exhibition, "1984 in 1984: What's the Future We are Looking For?" by Colectivo 3 (Mexico). Insert reproduces a newspaper ("La Hora") text from Montevideo, Uruguay, "Asociación Latinomericana y del Caribe de Artistas Correo."

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PostHype: The Journal of Happy Young People Enterprises. John P. Jacobs, Editor. HYPE, New York, New York. 1982-

Vol. 2, No. 1 ([1982]). Photocopy and Rubber Stamps. 11"x8 1/2". (2 pages). Mail Art periodical/artistamp sheet. "Cavellini in New York Commemorative Issue." Updates on Six Fingers Nunzio (USA) and Al Ackerman (USA). Galleria Dell'Ochhio (New York City) activities. Mail Art exhibition, project and publication opportunities. Eraser carving of the editor with Al Ackerman. Perforated artistamp sheet of 12 stamps pictures Cavellini (Italy).

Vol. 2, No. 2 (1983). Photocopy and Rubber Stamps. 11"x8 1/2". (2 pages). "Well, here it is, 1983, and the first birthday issue of 'PostHype.' 1983: the year of the Big HYPE. The Expanded Issue. the 20¢ stamp. All this in order to bring to you more information, more gossip and finally, more art." Eraser carving of Carlo Pittore (USA) and the editor, by the editor. Mail Art exhibition, project and publication opportunities. Perforated artistamp sheet on front, features Carlo Pittore and the quote, "As artists, we enter into life as buffoons. but when we step out of the ring we step out as champions," on each of the 12 stamps.

Vol. 2, No. 3 ([1983]). Photocopy and Rubber Stamps. 11"x8 1/2". (2 pages). Editorial. "Unfortunately, Mail Art has a problem. It wants to be considered important; one of the High Arts. At the same time, however, it wants to be democratic, available to everyone who has access to a postal service. As a result, the Postal Art Network is filled with a lot of junky stuff that is probably every expressive of the feelings and tensions of the world today, but, when you get right down to it, just doesn't pass as Art..." Eraser carving of Buster Cleveland (USA) and the editor, by the editor. "HYPE Activities Update." Perforated artistamp sheet on front features Buster Cleveland, with the words "HYPE NOT DADA" on each of the 12 stamps.  

Vol. 2, No. 4 ([1983]). Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (24 pages). "Here is the latest Hype. It consists, for the most part, of responses to my editorial in the last issue concerning the problem of quality and the ideal of democracy in mailart." "International Mail Art," by Lon Spiegelman (USA). "Mailart: In Theory," by the editor. "Injury by Bury: An International Postcard Art Action on the Theme of Artwork and Artists Rejected," by Chuck Welch (USA). Contributions by Martina and Steffen Giersch (East Germany), David Cole (USA), Crackerjack Kid (USA), B. J. Tisa (USA), Gerald Jupitter-Larsen (Canada), Michael Leigh (England), Leavenworth Jackson (USA), Paul Zelevalansky (USA), George Maciunas (USA), Carlo Pittore (USA), Al Ackerman (USA), et al. Mail Art exhibition, project and publication opportunities. Edition 46/150.

Vol. 2, No. 5 (November 1983). Color and Black & White Photocopy and Rubber Stamps. 8 1/2"x5 1/2". (24 pages). "This issue of PostHype is the catalogue to my mail art project, 'The Catalogue of Ideas'. In total eighty five artists from twenty six nations participated in the project." contributions by Guillermo Deisler (East Germany), Lon Spiegelman (USA), Carlos Zerpa (Venezuela), John M. Bennett (USA), Michael Leigh (England), Ko De Jonge (Holland), David Zack (Mexico), Richard Kostelanetz (USA), Leavenworth Jackson (USA), Paulo Bruscky (Brazil), Kum Nam Baik (South Korea), Ruggero Maggi (Italy), Al Ackerman (USA), et al. 
 
Vol. 3, No. 1 (July 1984). Photocopy. 11"x8 1/2". 53 pages. "This issue contains a large amount of material dealing with the Mail Art panels that took place here in New York late last February, and with the Franklin Furnace exhibition, 'Mail Art, Then and Now', curated by Dr. Ronnie Cohen. My intentions in waiting this long to publish the material are twofold. First, I have desired to give the material an opportunity to cool down. Much has been written of the Franklin Furnace Show, of Dr. Cohen and of the behavior of the panel which removed her as moderator, all of it heated, some of it careless and distasteful. It is my personal belief that what is revealed in this material goes far beyond the persistent demands by mail artists of what mail art should and must be...My second reason for waiting so long to publish this material is that I had hoped to present it as something of an alternative to the Franklin Furnace exhibition catalogue. While that catalogue is certainly lavish, and contains many of the 'great names' of mail art, it is, I think, hardly representative of the state of mail art today." "Mail Art: A Bridge to the World," by Judith A. Hoffberg (USA). "Open Letter," by Géza Perneczky (West Germany). ""Mail Art as an Alternative?," by Géza Perneczky. "Mail Art or the Eternal Network?," by Vittore Baroni (Italy), "Anna Banana Speaks! New York, 1984." "Artists Talk on Art: Mail Art Panel One, "The Global Network,'" a transcription of a discussion between Robert Morgan (USA), Mark Bloch (USA), Ed Higgins (USA), Carlo Pittore (USA), Steve Random (USA), Louise Neaderland (USA), Ken Friedman (USA), Dr. Ronny Cohen (USA),Dick Higgins (USA), Richard Kostelanetz (USA), H. R. Fricker (Switzerland), Paul Zelevansky (USA), Ed Plunkett (USA), et al. "Artists Talk on Art: Mail Art Panel Two, 'The New Cultural Strategy,'" a transcription of the discussion between Crackerjack Kid (USA), Dr. Ronnie Cohen (USA), John Held, Jr. (USA), E. F. Higgins (USA), John P. Jacob (USA), Carlo Pittore (USA), Ken Friedman (USA), Mark Bloch (USA), Paul Zelevansky (USA), David Cole (USA), John Evans (USA), Marilyn Rosenberg (USA), Dislokate Klammer (USA), et al. "Mail Art Earstory," by Vittore Baroni (Italy). Additional contributions by Ray Johnson (USA), David Zack (Mexico), Robin Crozier (England), et al. Insert, "Letter," by the editor. Edition 187/300.      

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Post Kunst. Lothar Trott, Editor. Zürich, Switzerland. 1995-1996.

(October 1995). Color Photocopy. 8 1/4"x5 3/4". 25 pages. Color photocopy of artistamps produced by the editor, collaged with magazine graphics. 

([1996]). Photocopy with Rubber Stamps and Artistamps. 11 3/4"x8 1/4". (12 pages). Artistamps by the editor. Contributions by John Held, Jr. (USA), and  Dan Landrum (USA).

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Poster: Official Publication of the Local Post Collectors Society, The. Joseph J. Frasketi, Editor. Fort Myers, Florida. 1984-1985.

Vol. 12, No. 2 (March/April 1984). Photocopy, 11"x8 1/2". (pages numbered 9-18). A philatelic newsletter focusing on "local posts," postage stamps designed by philatelists. "Special Announcement," focuses on the activities of "LPCS Member Chuck Welch, well known in international mail-art circles who creates local post 'Artistamps' using his own handmade paper and exacting watercolor etchings to salute local events (some real, some fabled)..."  

Vol. 12, No. 4 (July/August 1984). Photocopy. 11"x8 1/2". (pages numbered 25-42). Cover article, "Crackerjack Local Post," by Chuck Welch (USA) . "Crackerjack Local post gets it's unusual title from my Mail Art pseudonym, Crackerjack Kid. Mail Art is the exchange of artwork (i.e., decorated cards, letter, artistamps, etc.) by way of international postal systems. this international 'art movement' involves creative people of varied disciplines all of whom communicate through a 'free exchange' of art and ideas. There are Mail Artists, like myself, who 'specialize' in creating unusual postage stamps. These artists, for the most part, are not tried and true philatelists. Largely, they are artists who love to mail unusual and imaginative images."

Vol. 13, No. 4 (July/August 1985). Photocopy. 11"x8 1/2". (pages numbered 33-40). "Mail Art Artist Chuck Welch (also known as the Cracker Jack Kid) with a Post by that name & many others, had requested designs of Peace Stamps from other Mail Art Artists which were to be distributed at Peace Park in Hiroshima, Aug. 6 to commemorate those who lost their lives in the atomic bombing of that city. Chuck is also extending this offer to all LPCS members to design Peace Stamps & our efforts will be included in the video tape 'Remember Hiroshima: Stamps for Peace' documentation..." 

Vol. 13, No. 5. (September/October 1985). Photocopy. 11"x8 1/2". (pages numbered 41-54). "Crackerjack Navel Academy." "Shown on this page & the following page are examples of stampwork designs sent in by mail artists plus instructions for joining in the fun of becoming an honorary subject of the Umbilical Dominion by sending in a cast of your belly button!"

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Postflux Fluxpoem. Reed Altemus, Editor. Cumberland Center, Maine. 2000.

No. 1 ([2000]). Photocopy. 8 1/2"x5 1/2". (one page). Cut-and-paste poetry. "Already limits Beyond old..." 

No. 2 ([2000]). Photocopy. 8 1/2"x5 1/2". (one page). Cut-and-paste poetry. "Scored Tomatoes Paint Fresh Whether..." 

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Postfluxpostbooklet. Luc Fierens, Editor. Passion Creates Art Productions, Hombeek and Mechelen, Belgium. 1987-2001.

No. 1 (July 1987). Photocopy. 5 3/4"x4 1/4". (14 pages). "Ice Cream Changes the World of Heart." "foundfluxpoems from Mr. Luce." "REEdition 1991."

No. 2 (November 1987). Photocopy. 5 3/4"x4 1/4". (16 pages). "the world of my heART." "foundfluxpoems from MR. LUCE." "REedition 1991."

No. 3 (March 1988). Photocopy. 5 3/4"x4 1/4". (16 pages). "superstriper." "foundfluxpoems from MR. LUCE." Edition 70/100.

No. 3 (March 1988). Photocopy. 5 3/4"x4 1/4". (16 pages). "superstriper." "foundfluxpoems from MR. LUCE." "REedition 1991."

 No. 4 (June 1988). Photocopy. 5 3/4"x4 1/4". (20 pages). "Sehnsucht." "Old poems for new people from Mr. Luce..." "REedtion 1991."

No. 4 (October 1988). Photocopy. 5 3/4"x4 1/4". (16 pages). "Talking to the Media." "Special booklet designed for 28 Oct. '88-mail-art gathering in the MEDIA-Eeklo (Belgium)." "Reedition 1991)." Contributions by Shozo Shimamoto (Japan), John Held, Jr. (USA), Piotr Rogalski (Poland), Mark Bloch (USA), G. X. Jupitter-Larsen (Canada), et al.

No. 5 (May 1989). Photocopy. 5 3/4"x4 1/4". (16 pages). "Augenblick." Edition 30/100.

No. 5 (May 1989). Photocopy. 5 3/4"x4 1/4". (16 pages). "Augenblick." "REedition 1991."

No. 6 (November 1989). Photocopy. 5 3/4"x4 1/4". (16 pages). "Armadillo." Photo documentation of a trip to Texas, where the editor meets Princess Debbie (USA), John Held, Jr. and Paula Barber (USA), Andy Hanson (USA), et al. "REeditioN 1991."

No. 7 (December 1989-January 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Original idea by GORE/Add Ons by MR. LUCE." Collaboration by Gore (USA) and the editor. Edition 22/50.

No. 7 (December 1989-January 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Original idea by GORE/Add Ons by MR. LUCE." Collaboration by Gore (USA) and the editor. "REedition 1991."

No. 8 (February 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Do Not Speak?" Collaboration by Pete Spence (Australia) and the editor. Edition 8/50.

No. 8 (February 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Do Not Speak?" Collaboration by Pete Spence (Australia) and the editor. "REedition 1991."

No. 9 (March 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Mermaids Singing." Edition 97/100.

No. 9 (March 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Mermaids Singing." "Re-edition 1991."

No. 10 (March 1990). Photocopy. 5 3/4"x4 1/4". (20 pages). "a HAT NUMBER." Collaboration by Serge Segay (USSR) and the editor. "Original idea by Serge Segay-add ons by Mr. Luce." Edition 98/200.

No. 10 (March 1990). Photocopy. 5 3/4"x4 1/4". (20 pages). "a HAT NUMBER." Collaboration by Serge Segay (USSR) and the editor. "Original idea by Serge Segay-add ons by Mr. Luce." "REEDITION 1992."

No. 11 (April 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Le Libre Belgique." Collaboration by Kristof D'Haeseleer (Belgium) and the editor. Edition 23/100.

No. 11 (April 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Le Libre Belgique." Collaboration by Kristof D'Haeseleer (Belgium) and the editor. "Re-edition 1991."

No. 12 (May-June-July 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Beats & Pieces." Collaboration by FaGaGaGa (USA) and the editor. "REedtion 1991."

No. 13 (August 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Myth." Collaboration by Tania (Belgium) and the editor. Edition 21/50.

No. 13 (August 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Myth." Collaboration by Tania (Belgium) and the editor. "Re-edition 1991."

No. 14 ([August 1990]). Photocopy. 5 3/4"x4 1/4". 16 pages. "After Fluxus," by Ken Friedman (Norway). "PostFluxPost Booklet Number 14 has been created by Ken Friedman at the invitation of Mr. Luce. It is dedicated to George Brecht's proposition that 'Fluxus has Fluxed'." "This booklet is printed in an edition of 100 copies signed and numbered by the author." Edition 67/100.

No. 14 ([1990]). Photocopy. 5 3/4"x4 1/4". 15 pages. "After Fluxus," by Ken Friedman (Norway). "PostFluxPost booklet Number 14 has been created by ken Friedman at the invitation of Mr. Luce. it is dedicated to George Brecht's proposition that 'Fluxus has Fluxed.' The first printing was an edition of 100 copies signed and numbered by the author. The second printing is an open edition."

No. 15 (October 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "After Zaum." Collaboration by Serge Segay (USSR), Robin Crozier (England) and the editor. "Cooperation Segay & Crozier and Add ons by MR. LUCE." Edition 27/60. Insert includes a history of the series to date.

No. 15 (October 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "After Zaum." Collaboration by Serge Segay (USSR), Robin Crozier (England) and the editor. "Cooperation Segay & Crozier and Add ons by MR. LUCE." "REeditiion 1991."

No. 16 (December 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Go With the Flow." Collaboration by Princess Debbie Piepenburg (USA) and the editor. Edition 27/50.

No. 16 (December 1990). Photocopy. 5 3/4"x4 1/4". (16 pages). "Go With the Flow." Collaboration by Princess Debbie Piepenburg (USA) and the editor. "REEDITION 1992."

No. 17 (June 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Pig & Network." Collaboration by Baudhuin Simon (Belgium) and the editor. Edition 46/50.

No. 17 (June 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Pig & Network." Collaboration by Baudhuin Simon (Belgium) and the editor. "REEDITION 1992."

No. 18 (August 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Zaumoney." Collaboration by Serge Segay (USSR) and the editor. "REEDITION 1992."

No. 19 (October-November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Belgian Pre-Congressmeeting (October 5, 1991)." Collaboration by Kristof D. (Belgium), José VDBrouck (Belgium), Ingrid Swinne, H. R. Fricker (Switzerland), Mark FaGaGaGa (USA) and the editor. "Unlimited edition."

No. 20 (November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Jung." Collaboration by Michael Northam (USA) and the editor. "Includes found and selected pieces from Michael Northams' networkspirit with networkers in England and Belgium (Kristof D., Aninaa, Metallic Avau, Volker Hamann and Mr. Luce." "Unlimited edition."

No. 21 (November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Artstrike 1990-1993," "Includes material from various sources but Neoism, Plagiarism and ARTstrike have influenced my state of FLUX." Texts by Chris Straetling (Belgium), Stewart Home (England), Mark Pawson (England), Lightworks (USA) and Scott MacLeod (USA).  "Unlimited edition."

No. 22 (November 1991). Photocopy. 5 3/4"x4 1/4". (16 pages). "Congress Vukovaar." Collaboration by Svjetlana Mimica (Croatia) and the editor. "Includes material by Svjetlana Mimica and congress and anti-war and calls for Warstrike; congressstrike for Yugoslavia by MR. LUCE. PEACE NOW!" "Unlimited edition."

No. 23 (December 1991/January 1992). Photocopy. 5 3/4"x4 1/4". 24 pages. "FluxPoem" by Don Boyd (USA). "Unlimited edition."

No. 24 (August 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "The language of Influence." collaboration by Rea Nikonova (USSR) an the editor. "Original idea by Rea/add-ons by Mr. Luce."

No. 25 (September 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "Boxes." collaboration by Serge Segay (USSR) and the editor. "Original idea by Serge/add-ons by Mr. Luce."

No. 26 (October 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "Rubberdream." Collaboration by Mailstream (aka William S. Melstrom) (USA) and the editor. "Original idea by William S. Melstrom, add-ons by Mr. Luce." "This booklet is dedicated to all femail artists and especially to a far away princess and a divided Yugoslavian people. Fight in spirit for an open World of heART!" 

No. 27 (November 1992). Photocopy. 5 3/4"x4 1/4". (16 pages). "Fight in Spirit Together." Contributions by Dobrica Kamperelic (Yugoslavia), Andrej Tisma (Yugoslavia), Svjetlana Mimica (Croatia), Bruno Chiarlone (Italy), Soc. Anonyme (Belgium), José VDBroucke (Belgium), John Held, Jr. (USA), Michael Fox (Germany), and Rea Nikonova (Russia). P.S.: this booklet is dedicated to the 1992 Decentralized World Wide Networker Congresssession Brussels-21-22 Nov. 1992 and to the spi(rituals) for Y(O)U!!!!"

No. 28 (March-April 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "Worldmix." Contributions by K. Takeishi (Japan), Yoshiaki Koyayashi (Japan), afungusboy (USA), Nonlocal Variable (USA), Olena (Poland), Ruggero Maggi (Italy), Vincze Laszlo (Romania), Mike Duquette (Canada), and Dobrica Kamperelic (Yugoslavia), with add-ons by the editor. "P.S.: this booklet is dedicated to Merz and Kurt Schwitters. This mix was put together from my Postfluxpostarchive (1990-1992)! My/our world is a mix but don't make it a mess!"

No. 29 (May 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "for communication without questionmark." Contributions by Andrej Tisma (Yugoslavia), Svjetlana Mimica (Croatia), Angela and Peter Netmail (Germany), Scott Mac Leod (USA), Crackerjack Kid (USA), Olena (Poland), "and souvenirs from" José Vanderbroucke (Belgium), Geert De Decker (Belgium), Kristof D. (Belgium). "& thanks to the FACE (Fagagaga) (USA) for some texts I have here reprinted!" Add-ons by the editor. "P. S.: this booklet is dedicated to all the people who are still communicating and in search for peace in their spirits! Keep the faith!"

No. 30 (June 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "the smell of decay." "Original idea by Guy Bleus...add-ons by Mr. Luce." "Unlimited Edition."

No. 31 (September 1993). Photocopy. 5 3/4"x4 1/4". (16 pages). "Journée du Timbre." "Original material (Submitted January 1992) by David Cole...add-ons by Mr. Luce." "Unlimited edition."

No. 32 (July-August 1994). Photocopy. 5 3/4"x4 1/4". (16 pages). "Electro-city." "Found and received material by Ten 28 (Scotland), Hong-O-Bong, Lee Sang Jin (S. Korea), T. Orimoto, Seji Shimoda (Japan), Ütó Gusztáv, Kónya Reká (Romania), Annina Van Sebroeck and Luce Fierens (Belgium). This is no report about the ANNArt5-Medium 3 trench art festival but it wants to be a homage to the energy of Ütó Gusztáv and his friends." "Unlimited edition."

No. 33 (September-October 1994). Photocopy. 5 3/4"x4 1/4". (16 pages). "love/hate." Collaboration by Crackerjack Kid (USA) and the editor. Editorial offices moved to Mechelen, Belgium.

No. 34 (October 1994). Photocopy. 5 3/4"x4 1/4". (16 pages). "human performance." "Performance proposal by Luce Fierens-this is a possible performance for two people. material: man-woman-black and white clothes-lipstick-doll two stone-/duration: 15 minutes with necessary interaction from audience/crowd."

No. 35 (June 1995). Photocopy. 5 3/4"x4 1/4". (16 pages). "schw(e)ing." Collaboration by Jürgen Olbrich (Germany) and the editor.

No. 36 (July 1985). Photocopy. 5 3/4"x4 1/4". (16 pages). "Le créateur ignore la marine." Collaboration by Jean-Noël Laszlo (France) and the editor, with material sent by Laszlo in 1991, and "add + paste(d)" by the editor in the year of publication.

No. 37 (August 1995). Photocopy. 5 3/4"x4 1/4". (16 pages). "Postnightly." Collaboration by José VandenBroucke (Belgium) and the editor. "I dedicate this booklet to Darko Vulic (a Bosnian artist-refugee who's currently living in Mr. AtomicChirac 'France)!"

No. 38 (January 1996). Photocopy. 5 3/4"x4 1/4". (16 pages). "Sometimes." Collaboration by John Held, Jr. (USA), with material sent to the editor 1990-1991, who then added-on to the work in the year of publication.

No. 39 (February 1996). Photocopy. 5 3/4"x4 1/4". (16 pages). "sztukasurf." Collaboration by Sztuka Fabryka (aka De Decker Geert) (Belgium) and the editor. "Distributed in the Eternal Network to mail-artists, networkers, museums and archives."

No. 40 (May 1996). Photocopy. 5 3/4"x4 1/4". (16 pages). "tigerpost." "Works (1995-1996) by Annina Van Sebroeck (B) brought together in this booklet for the GYNAIKA project (a project in Belgium to promote female artists with many exhibitions in 1996). This booklet will be printed for our 'Postkunst-Mechelen' Mail-art exhibition in the Cult. Centre A. Spinoy from 2-11 June '96 in Mechelen (Belgium). All Postfluxpostbooklets are send (sic) to various mail-artarchives, museums and networkers."

No. 41 (June 1997). Photocopy. 5 3/4"x4 1/4". (16 pages). "No Name Sushi." Works "by Patricia Tavenner, John Held, Jr., Annina Van Sebroeck and Luc Fierens and found pieces during their visit to San Francisco, Oakland and Berkeley (June 1997) and during Luce Fierens 'we fight on in spirit' exhibition in the Stamp Art Gallery, S.F.-U.S.A."

No. 42 (July 1997). Photocopy. 5 3/4"x4 1/4". (16 pages). "Folk Noism In(ter)vention." Works "by Dmitry Bulatov (Kaliningrad-Russia)" with "add-on by Luc Fierens."

No. 43 (September 1998). Photocopy. 5 3/4"x4 1/4". (16 pages). "Papier glacé." Collaboration by Jacques Charlier (Belgium) and the editor. "Unlimited edition."

No. 44 (August 2000). Color Photocopy. 5 3/4"x4 1/4". (20 pages). "Ohio in September." "Found collagematerial by Luc Fierens (B) August 2000/-add + paste by Annina Van Sebroeck." Collaboration by the two Belgian Mail Artists. Signed Edition 27/27.

No. 45 (January 2001). Photocopy. 5 3/4"x4 1/4". (16 pages). "No more boundaries for Art." Collaboration by Reed Altemus (USA) and the editor.

No. 46 (September 2001). Photocopy. 5 3/4"x4 1/4". (16 pages). "moodswings." Collaboration by 3-Werf Xtof Bruneel (Belgium), Anina Van Sebroeck (Belgium) and the editor.

No. 47 (March 2001). Photocopy. 5 3/4"x4 1/4". (16 pages). "song..." Collaboration by Michael Basinski (USA) and the editor.

^

(Shouting at the) Postman. Ken Miller, Editor. ASKalice Art Net, Yardley and Newtown, Pennsylvania. 1995-2001.

Periodical changes title each issue. Commonly known as "Shouting at the Postman," or "The Postman."

No. 4 (Mid-March 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shouting at the Postman." Zine listings. "Last Word." "Mail Art is the only thing that matters to me now. I am addicted to the possibilities of the net, and real interactions (non-mil-art) seem transitory and artificial. I have always had difficulty interacting with strangers, but in the world of mail art there are no strangers. It is a friendly world where you can communicate with hundreds of people indirectly, where one is accepted simply for having an address." "Recipe Exchange Update," lists advise from Miss Renate-Johanne-Carelse (Holland). "Participants" directory. "These are addresses of people who contribute on a regular basis." 

No. 5 (April [1995]). Photocopy and Mixed Media. 8 1/2"x5 1/2". (8 pages). "Pouting at the Postman." "In Memory of Ray Johnson." "(Note: I had planned to write a piece about Ray Johnson for this issue, but after attempting to find out more about him, I realized that the obscurity that surrounded him was a deliberate attempt by him to shun publicity. According to John Held, Jr., Ray was an enigma because he wished to be one. Most of the materials in this zine were the result of correspondence I had with Ray in 1994. I am sorry I never got to know him better, but then, few people really did.)" contributions by Ray Johnson (USA). Reprint of "The New York Times" obituary for Johnson, Thursday, January 19, 1995. "Ten Ways to Tell if You're a mail Artist." "Participants."

No. 6 (May 1995). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". 4 pages. "Rally 'Round the Postman." "Outline of the Netland Independence Project." "Where is 'Netland?'" "The Netland Liberation Front."

No. 7 (June 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Cooking with the Postman." Recipes contributed by Alice borealis (USA), Carlo Desiró (Italy), M. B. Corbett (USA), the editor, et al.

No. 8 (July 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Singing to the Postman." Music reviews. "Strike Up the Banned: Albums removed from stores for copyright violations." "Participants."

No. 9 (August 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Reading to the Postman." Favorite books and zines reviewed. "Participants."

No. 10 (September 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Ticking like the Postman." "My Life with the Kit Kat Cult." "Some Zines of Note," includes "Mail Interview Project," edited by Ruud Janssen (Holland). "Mail Art Pen Pals," includes listing of 35 correspondents from USA, Japan, Yugoslavia, Holland, Italy, Spain, Argentina, Denmark, Czech Republic and Mexico.

No. 11 (October 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shouting at the Postman." Zines reviews. "Postman back Issues." "Netland Holidays." "Mail Art Pen Pals."

No. 12 (November 1995). Photocopy. 8 1/2"x5 1/2". 8 pages. "Fist Fucking the Postman." "Warning. this is the offensive issue of Shouting at the Postman. If you are easily offended, you should stop reading now. If you are easily offended and you didn't stop reading, well, fuck you and your dog..." "Smallville Funny Farm," honors "Leonardo Da Fitchi" from Sacramento, California. Zine reviews. "Current Network Participants," lists contributors to the editor's Mail Art project. "The Shit List," names and addresses listed in regularly featured, "Mail Art Pen Pals."

No. 13 (December 1995). Photocopy. 8 1/2"x5 1/2". 24 pages. "Year in the Life of Shouting at the Postman." "I never intended to publish a zine. It started as a way to publicize my projects and put out a list of people who send me stuff, but soon I found myself writing articles and reviews, and liking it. All in all, I'd say it's been a rewarding experience. The Postman has helped me meet lots of cool people, and has given me a place to blow my spleen about things I like or hate, recipes, music, and zines, always more zines. This issue has most of the good stuff from the last twelve, including a little new stuff for you folks who have all the old ones (you know who you are)." Includes, "On the Theory and Practice of Mail Art." "Mail Art Pen Pals."

No. 14 (February 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Ben Roby is the Postman." "Chaotic Congress," reveals, "I didn't get to meet any of my fellow mail artists, but I still felt that the event was a success. That's why I 'disorganized' it-so that I didn't have to be present for other people to have fun." "High Water Congress 1996," relates a meeting with Alice Borealis (USA). "Mail Art Pen Pals," lists 45 correspondents.

No. 15 (March 1996). Photocopy. 11"x8 1/2". (20 pages). "This is Not the Postman: A special abstract issue." "Greetings and welcome to the abstract issue of 'Shouting at the Postman.' What exactly is an abstract zine? Well all the material in here was selected especially for your copy. the material comes from a variety of sources-catalogs, other zines, World Wide Web sites, computer art, stamp sheets, junk mail, newspapers, etc. Much of it will not make any sense at all, but that's the idea. It's also the only issue of S@TP that has a staple in it. If you choose to remove the staple, this issue becomes just another of my envelopes full of junk." 

No. 15 (March 1996). Photocopy. 11"x8 1/2". (20 pages). "This is Not the Postman: A special abstract issue." Variant of the above.

No. 16 (April 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shouting at the Postman." Illustrations by Anthony Stagg (USA). "Mail Art Pen Pals," lists 52 correspondents.

No. 17 (May 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Tanked Like the Postman." Includes, "Mail Art Pen Pals."

No. 18 (June 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Bigger Than the Postman." Includes, "The We Festival" and  "Reader Survey." "Mail Art Pen Pals."

No. 19 (August 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Soggy Like the Postman." "Yet Another Natural Disaster," recounts the editor surviving a flood." Zine reviews. "Mail Art Pen Pals."

No. 20 (October 1996). Photocopy. 8 1/2"x5 1/2". 8 pages. "Smiling Like the Postman." "Swami Who?" "The first time you get a letter from a Swami, it kind of shakes you up a little. I was pretty new to the mail art world when a package came from Vishwa Shanti Nikethana, also known as Swami Nirmalananda. I was pretty impressed to get mail from India, let alone a Swami...I would see his name in Ryosuke Cohen's brain cell from time to time, but he didn't write me back. Then a few months ago, he started writing me again. Several months ago I received a letter (next page) and the text of his last testament (page 4), which came as quite a shock to me. Why does a swami participate in mail art? He's just communicating like we all are. he has found an idea medium for his words...His words of wisdom have been a regular part of my mailings, and I am sad to learn of his imminent passing." "Mail Art Pen Pals."

No. 21 (December 1996). Photocopy. 8 1/2"x5 1/2". 12 pages. "Sickly Like the Postman." A trip to Oaxaca, Mexico. "Mail Art Pen Pals."     

No. 22 (February 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Scowling at the Postman." "Cult Figure of the Year, 1997." "Mail Art Contacts," lists 56 correspondents.

No. 23 (May 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Siamese Like the Postman." "Interview with Ashley Parker Owens," profiles the editor of "Global Mail.'" "Mail Art Pen Pals."

No. 24 (August 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Lusting Like the Postman." "Yet Another Self-Indulgent Travel Diary Issue." The editor in Boston, Heidelberg, Prague, Terezin, Berlin, Poland, Frankfurt, Mallorca, and Madrid. "Mail Art Contacts."

No. 25 (October 1997). Photocopy. 8 1/2"x5 1/2". 8 pages. "Truth is Stranger Than the Postman." "One Strange Month: This issue is the story of everything that has happened to me in the last month. All of the material in this issue is true." "Mail Art Contacts."

No. 26 (November 1997). Photocopy. 8 1/2"x5 1/2". 12 pages. "Crazy Like the Postman." Short story, "The Cola War," by the editor. "Mail Art Contacts."

No. 27 (February 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Fooling  the Postman." "Special Issue: Cult Figure of the Year, 1998." "Mail Art Contacts."

No. 25, 26, 27 (1998). Photocopy. 8 1/2"x5 1/2". 28 pages. "Shouting at the Postman." "Special edition: three complete issues!" Past three issue in one volume. "Mail Art Contacts."

No. 28 (April 1998). Photocopy. 8 1/2"x5 1/2". 8 pages. "(Chinese characters) the Postman." "Special Chinese Language Edition!" Reviews of "zines and other publications." "Mail Art Contacts."

No. 29 (July 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Married to the Postman." The editor gets married. "Mail Art Contacts."

No. 30 (September 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Critical of the Postman." "Special All-Review Issue." "Mail Art Contacts" lists 67 correspondents.

No. 31 (October 1998). Photocopy. 8 1/2"x5 1/2". 12 pages. "Pictures of the Postman." "Personal Demons: The Art of Barbara Cooper," reproduces paintings by the California Mail Artist. "Mail Art Contacts." 

Nos. 28, 29, 30, 31 (1998). Photocopy. 8 1/2"x5 1/2". 28 pages. "Shouting at the Postman." Four complete issues. "Mail Art contacts."

No. 32 (December 1998). Photocopy. 8 1/2"x5 1/2". 8 pages. "Confessions of the Postman." Short story, "Emergency Chicken," by the editor. "Mail Art Contacts."

No. 33 (February 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "The Face of the Postman." "The Annual Cult Figure Issue." Contributions by Henk Van Ooijen (Holland), Laura Poll (USA), Kurt Beaulieu (Canada), J. C. Synthetics (England), Pete Spence (Australia), Bruno Gheerbrant (France), Martin Petersen (Denmark), et al. "Mail Art Contacts."

No. 34 (April 1999). Photocopy. 8 1/2"x5 1/2". 8 pages. "The Weekly World Postman." "Trains and Kismet: A Schmitzian Tale," in which the editor meets Mail Art Poet Mark Sonnenfeld in Washington Sq. Park, New York, by happenstance.. "Mail Art Contacts." Editorial offices moved to Newtown, Pennsylvania.

No. 35 (June 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "Dancing With the Postman." Music reviews. "Mail Art Contacts."

No. 36 (August 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "Faking Out the Postman." "Documentation for a Fake Project." "Mail art has a long and proud history of pranks, games, false identities and humorous deception. Ray Johnson was the perennial merry prankster, and his brilliant, dead-pan gags are the stuff of legend. A recent string of pranks are slightly less funny, however, and those are the rash of fake projects which have appeared recently. These seem to be more of an annoyance than anything else...The only conclusion I could come to is that the prankster is making some kind of statement about documentation for mail art projects. By creating these fake projects, he has guaranteed that many people who send out art for projects will get nothing in return. I assume that he is trying to teach people not to sit by the mail box waiting for documentation which may never come, and the lesson in this: One should not make mail art for the reward of documentation. One should make mail art for the reward of making art and sharing it with others." Listing of "Recent Fake Projects." "Real Documentation for the Fake Project: What Does Alice Look Like?," lists 19 participants from 13 countries. Contributions by Keiichi Nakamura (Japan), Diane Bertrand (Canada), Barry Edgar Pilcher (Ireland), Antonio Sassu (Italy), Geert De Decker (Belgium), Musicmaster (USA), Giovanni Strada (Italy), et al. "Mail Art Contacts."

No. 37 (November 1999). Photocopy. 8 1/2"x5 1/2". 12 pages. "Boxing with the Postman." The editor chronicles his move to a new house. "Mail Art Contacts."

No. 38 (February 2000). Photocopy. 8 1/2"x5 1/2". 12 pages. "Leering at the Postman." "Cult Figure of the Year, 2000." Contributions by Dragonfly Dream (USA), Dr. Surearts (USA), et al. "Mail Art Contacts," lists 126 correspondents.

No. 39 (April 2000). Photocopy. 8 1/2"x5 1/2". 8 pages. "Shivering Like the Postman." The editor in Iceland. "Mail Art Contacts."

No. 40 (June 2000). Photocopy. 8 1/2"x5 1/2". 8 pages. "Wealthy Like the Postman." Short story, "Collectible Corner," by the editor. "Mail Art Contacts."

No. 41 (August 2000). Photocopy. 8 1/2"x5 1/2". 12 pages. "Look Out for the Postman." Review issue includes notices of "Opuntia," Lost and Found Times," etc. "Mail Art Contacts."

No. 43 (December 2000). Photocopy and Mixed Media. 8 1/2"x5 1/2". 12 pages. "Punching Out the Postman." Travels to Budapest, Hungary, and a visit to Artpool, directed by György and Julia Galantai. "When I asked how they perforated the stamp sheets, György took us into the bathroom to see the antique perforation machine, which had been a gift from Cavellini." Another stop in Prague, Czech Republic, and a meeting with Ivan Preissler. "Mail Art Contacts."

No. 44 (February 2001). Photocopy. 8 1/2"x5 1/2". 12 pages. "Pecking Like the Postman." "The Secret Life of Abraham Lincoln, Cult Figure of the Year, 2001." Contributors include The Sticker dude (USA), David Alvey (USA), Dragonfly Dream (USA), Scott Garinger (USA), Dr. Surearts (USA), Clemente Padin (Uruguay), Merlin (Germany), A1 Waste Paper Co. (England), Baudhuin Simon (Belgium), Jean Kusina (USA), B. Saved (USA), Marilyn Damman (USA), Henk van Ooijen (Holland). et al. List of contributors. "Mail Art Contacts."

No. 45 (April 2001). Photocopy. 8 1/2"x5 1/2". 12 pages. "Wallowing with the Postman." Short story, "Weekend in Hell." by the editor. "Mail Art Contacts" lists 93 correspondents.        

^

Preciosa Nativa, La. Hans Braumüller, Editor. Santiago, Chile. 1988-91.

No. 3 (April 1988). Photocopy. 25 1/2"x13". (2 pages). "Periódical Biodegradable Para Aplicar con Engurdo Donde Cada Artículo es Real y Autonomo." Text and graphics by the editor.

No. 8 (1991). Offset. 66"x11". (one page). "Editorial." Contributions by Susan Uribe (Chile), Guy Bleus (Belgium), Lancillotto Bellini (Italy), Carlos Montes de Oca (Chile), Jürgen Olbrich (West Germany), Shigeru Tamaru (Japan), the editor, et al.

No. 9 (1991). Photocopy. 28"x10". (2 pages). Essay by the editor. Notice for the Decentralized World-Wide Networker congress 1992. Contributions by Marcela Arredondo  (Chile), Hector Villaroel (Chile), Susana Uribe (Chile), Clemente Padin (Uruguay), State of Being (USA), Chris Dodge (USA),  Ruggero Maggi (Italy), Aloys Ohlmann (West Germany), György Galántai (Hungary). Edition 14/500.

^

Presents of Mind. Paul Thomas, Mary Lee Pattillo, and Jim Farmer, Editors. Dallas, Texas. 1987.

No. 15 ([May 1987]). Photocopy. 11"x8 1/2". 19 pages. "Dada, Il ne mort pas; As you've no doubt noticed from the cover, this is POM's special issue on DaDa, so be prepared for something different. For those of you who are familiar with dAdA, you'll find all that you expect within these pages: poems by Arp and Tzara, collages and manifestoes. If this is your first encounter with the wonderful world of DAda, welcome. it is the fervent hope of the editors that, after reading this issue, you too will say: 'Hurrah Dada! Il ne mort pas!"

No. 16 ([July] 1987). Photocopy. 11"x8 1/2". (24 pages). "What is Bulldada?." by the Church of the SubGenius. "MailArt," by Paul Thomas. "Mail Art is a network of artists, of whom there are at least 5,000 in thirty five countries who regularly correspond to each other. Not only do they write, but they decorate their letters and envelopes with collages, drawings, glitter, or various sorts of rubber stamps. they might also include a piece of artwork they've done, too. mail art is, as Jon Held said in an article on mail art in the "Dallas Morning News," "...a linking together of artists through the postal system." Contribution by John Held, Jr. (USA).

No. 17 (1987). Photocopy. 11"x8 1/2". (20 pages). Church of the SubGenius. "Zine Reviews." 

^

Primal Plunge Catalog, The. Michael McInnis, Editor. The Primal Plunge, Allston, Massachusetts. 1988-1989.

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

^

Prole. John Eberly, Editor. Wichita, Kansas. (1990).

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

^

Prop. Joachim Frank, et al (Rotating Editorship). Workspace Loft, Albany, New York. 1979-1981.

No. 1 (March 1979). Offset. 11"x 81/2". 18 pages. Ed Atkeson, editor. Contributions by Aaron Flores (Mexico), Al Ackerman (USA),  Joachim Frank (USA), et al. "Erratic Art Mail International system," by Ulises Carrion (Holland) .Geoffrey Cook (USA) on the incarceration of Jorge Caraballo (Uruguay) and Clemente Padin (Uruguay) for "attacking the morale & reputation of the Army."

No. 2 (July [1979]). Offset. 11"x8 1/2". 23 pages. G. C. Haymes and Theo Dorian, editors. Contributions by Lon Spiegelman (USA), Ed Varney (Canada), Joachim Frank (USA), Aaron Flores (Mexico), R. Dick Trace-It (Canada), et al. 

No. 3 (December 1979). Offset. 9 1/2"x7". (28 pages). J. Galligan, editor. Contributions by Ray Johnson (USA), R. Dick Trace-It (Canada), John Held, Jr. (USA), Jorge Carabello (Uruguay), Steven Durland (USA), Bill Gaglione (USA), C. D. O. (Italy), Anna Banana (USA), Lon Spiegelman (USA), et al.   

No. 4 (May 1980). Offset. 9 1/2"x7". 28 pages. Jessica Lawrence, editor. "Literary Issue." Contributions by Lon Spiegelman (USA), Guy R Beining (USA), John M. and C. Mehrl Bennett (USA), Joachim Frank (USA), Musicmaster (USA), et al.

No. 5 (Fall 1980). Offset. 9 3/4"x7". 27 pages. Ed Atkeson, editor. Contributions by  Stu Horn (USA), Sue Fishbein (USA), Edgardo-Antonio Vigo (Argentina), Vittore Baroni (Italy), Joachim Frank, Opal Louis Nations (USA), et al. 

No. 6 (April 1981). Offset. 9 3/4"x7". 27 pages. Joachim Frank and Carol Tansay, editors. Contributions by Al Ackerman, Opal Louis Nations (USA), Musicmaster (USA), Richard C. (USA), et al. Notes on contributors. "Flexible circuits," contains information on publications of interest.

No. 7 (December 1981). Offset. 9 3/4"x7". 27 pages. Joachim Frank, editor. Contributions by Ulises Carrion (Holland), Piotr Rypson (Poland), Crackerjack Kid (USA), Vittore Baroni (Italy), Opal Louis Nations (USA), Stu Horn (USA), Peter Below (West Germany), Ruggero Maggi (Italy), Carlo Pittore (USA), Michael Scott (England), Studio LeClair (USA), Paul Rutkovsky (USA), et al. Publication reviews. Contributor notes.

No. 8 (December 1982). Offset. 9 3/4"x7". 22 pages. Louise Krasniewicz and Joachim Frank, editors. Contributions by Piotr Rypson (Poland), John M. Bennett (USA), Guy R. Beining (USA), Al Akerman (aka Chipper) (USA), et al. contributor notes. Mail Art exhibition and publication opportunities.

No. 9/10 (July 1983). Offset. 91/2"x7 1/2". 28 pages. Joachim Frank, editor. Contributions by Mark Bloch (USA), Johan van Geluwe (Belgium), Joel Lipman (USA), Steve Random (USA), Serse Luigetti (Italy), Willy Buchholz (West Germany), Louise Krasniewicz (USA), et al. Publication reviews. Contributor notes. Includes musical flexidisc.

No. 11 (December 1983). Offset. 11"x8 1/2". (20 pages). Joachim Frank, editor. Contributors include Crackerjack Kid (USA), Stephen Ronan (USA), Hosea frank (USA), John M. Bennett (USA), Mail Art exhibition, project and publication opportunities. 

No. 12 (July 1984). Offset. 10 1/2"x8". (20 pages). Louise Krasniewwicz and Joachim Frank, editors. documentation of the editors project, "Posthistoric Documents." Contributions by David B. Greenberger (USA), Al Ackerman (USA), Minoy (USA), Karl Kempton (USA), David M. Miller (USA), George Myers, Jr. (USA), Emmett Walsh (USA), Carol Stetser (USA), Henryk Gajewski (Poland), Jacques Massa (France), John S. Fawcett (USA), Guy Bleus (Belgium), Vittore Baroni (Italy), Andrej Tisma (Yugoslavia), Jan Wilson Kaufman (USA), Lisa Fox (USA) et al. "List of Contributors."

No. 13 (January 1986). Offset. 10 1/2"x8". 27 pages. Joachim Frank, editor. "..the last PROP." "Editorial: From Mail Art to Ail Art." "Mail art, the unconventional yet still extrovert pastime of creative urban minds, has reached its crest. UMBRELLA, ARTCOMNET, THERMOS, PROP, to name but a few magazines, have faltered. The postal fees are soaring. The daily sorting of mail art into art-mail, exhibit announcements, personal niceties, sort-of-interesting junk, and junk per se has become a nightmare. Just as it has happened in many other art epochs of the past millenium, the question 'What's next?' is on everybody's mind." Contributions by Paul Weinman (USA), Ulrich Kattenstroth (West Germany), David Cole (USA), Edgar Allen Bushmiller (USA), Crackerjack Kid (USA), Carol Stetser (USA), et al. List of contributors to "Prop," nos. 1-13.

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Prove it Pretzel Boy. Alice Borealis, Editor. Baltimore, Maryland. 1994-1995.

No. 1 (1994)). Photocopy. 11"x8 1/2". (2 page). "It's a 'zine if I say it is." "Alice Events." "About the Stamps." Accompanied by an artistamp sheet with contributions by Pinky (Italy), Mr. Zip (England), Shmuel (USA), surllama (USA), et al. Edition 6/75.

No. 4 (n.d). Photocopy. 11"x8 1/2". (one page). "Alice Events." "About the Stamps." Contributor list. Stamp sheet missing.

No. 5 (n.d.). Photocopy. 11"x8 1/2". (one page). "About the Little (Blank) Book." "About the Postcard." "About the Stamps." "Alice Events." Contributor list. Book, postcard, and stampsheet missing.

No. 7 (n.d.). Photocopy. 8 1/2"x5 1/2". (one page). "Contributors' List." Artistamp sheet missing.

No. 8 (1994). Photocopy. 11"x8 1/2" and 11"x4 1/4". (3 pages). "Alice Events." "Contributors' Projects." Artistamp sheet has contributions by ASKalice (USA), Ryosuke Cohen (Japan), mike Dyar (USA), Edgardo-Antonio Vigo (Argentina), et al. Book and postcard missing. Edition 29/50.

No. 10 (1995). Photocopy. 11"x8 1/2". (one page). Artistamp sheet with contributions by Byron Black (Indonesia), Seth Mason (USA), Mielle Christophe (France), Solomito Luigino (Italy), ASKalice (USA).

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Proyecto 'Vórtice.' Fernando Garcia Delgado, Editor. Vórtice, Buenos Aires, Argentina. 1997-1999.

No. 10 (December 1997). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages. Homage to the late Edgardo Antonio Vigo by Hilda Paz (Argentina). "El Mail Art: Part II," by José Luis Campal (Argentina). Contributions by Juan Carlos Romero (Argentina), Laura Andreoni (Argentina), Jorge Daffunchio (Argentina), Anna Banana (Canada), Ibirico (Spain), Pere Sousa (Spain), Patricia Collins (England), Emilio Morandi (Italy), Vittore Baroni (Italy), Carlo Pittore (USA), John M. Bennett (USA), et al. mail Art exhibition, project and publication opportunities. Includes original contributions by selected Argentinean contributors.   

No. 11 (March 1998). Photocopy, Rubber Stamps and Mixed Media. 6 1/2"x4 1/4". 18 pages. "Poesía Experimental Latinoamericana," by Clemente Padin (Uruguay). Contributions by Jorge Garnica (Argentina), Andrés Moguillanes (Argentina), Hugo Vidal (Argentina), Daniel Vidal (Argentina), Andrea Gagliardi (Argentina), Mariela Memoli (Argentina), Hugo Pontes (Brazil), Antonio Gómez (Spain), César Reglero (Spain), Antonio Orihuela (Spain), Robin Crozier (England), Ricardo Quesada (Peru), et al. Mail Art exhibition, project and publication opportunities. Includes original contributions by selected Argentinean contributors. 

No. 12 (June 1988). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages. "Poesía Experimental latinoamericana (Part II)," by Clemente Padin (Uruguay). Schedule of events for Argentinean sessions of "Encuentros de Mailartistas Incongruentes '98." contributions by Juan Carlos Romero (Argentina), Anabel Vanoni (Argentina), Hilda Paz (Argentina), Ivana Martinez Vollaró (Argentina), Orlando Pacheco Acuña (Chile),  Pedro Juan Gutiérrez (Cuba), Nuara (Spain), Ruud Janssen (Holland), Vittore Baroni (Italy), Michael Lumb (England), Picasso Gaglione (USA), John M. Bennett (USA), et al. Mail Art exhibition, project and publication opportunities. Includes original contributions by selected Argentinean contributors.   

No. 13 (September 1998). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages. "Sobra La Huelga de Art," by Stewart Home (England). Participant list for an exhibition of visual Poetry, organized by Vortice Argentina. "Poemas Visuales," by Hugo Pontes (Brazil). Contributions by Laura Andreoni (Argentina), Jorge Daffunchio (Argentina), Juan Carlos Romero (Argentina), Ivana Martinez Vollaro (Argentina) Annina Van Sebroeck (Belgium), Nevenko Petric (Croatia), Pere Sousa (Spain), Tartarugo (Spain), Pascal Lenoir (France), Joe Decie (England), Bruno Pollaci (Italy), Arto Posto (USA), Sticker Dude (USA), et al. Mail Art exhibition, project and publication opportunities. Includes original contributions by selected Argentinean contributors.

No. 14 (December 1998). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages. "Sobra la Huelga de Arte 2000-2001," by Pere Sousa (Spain). "Sobra la Huelga de Arte-Última Parte," by Stewart Home (England). "Exhibición Internacional de Publicaciones," includes "Hexagono," UNI/ver(s)," "Mani Art", "Bric-a-Brac," etc. contributions by Natalia Cacchiarelli (Argentina), Patricia Salas (Argentina), Laura Andreoni (Argentina), Guy Bleus (Belgium), Svjetlana Mimica (Croatica), Frank Jensen (Denmark), César Reglero (Spain), Julien Blaine (France), Patrcia Collins (England), Vittore Baroni (Italy), Keiichi Nakamura (Japan), Francis Fan Mail (Luxembourg), H. R. Fricker (Switzerland), John M. Bennett (USA), Patricia Tavenner (USDA), Gerardo Yepiz (USA), et al. mail Art exhibition, project and publication opportunities. Includes original contributions by selected Argentinean contributors.

No. 15 (April 1998). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages. "UNivrs(o) 4," by Clemente Padin (Uruguay) discusses the plight of Yugoslavian Mail Artists. List of 21 Yugoslavian Mail Artists. "Carta Abierta a Vortice: Huelga de Arte 2000-2001," by César Reglero Campos (Spain). "Querido, Viejo Motor Diesel," by Antonio Orihuela (Argentina) discusses the work of Spanish Mail Artist Antonio Gómez. Contributions by Laura Andreoni (Argentina), Lautaro Brunatti (Argentina), Beatriz Ramirez (Argentina), Maria Isabel Rufino (Argentina), Baudhuin Simon (Belgium), Ed Varney (Canada), Tartarugo (Spain), Bruno Capatti (Italy), Ruggero Maggi (Italy), Stephen Perkins (USA), et al. Mail Art exhibition, project and publication opportunities. Original contributions by selected Argentinean contributors. Rubber stamp impressions contributed by the Sticker Dude (aka Joel Cohen) run through the issue.

No. 17 (September 1999). Photocopy, Rubber Stamps, Mixed Media. 6 1.2"x4 1/4". 18 pages. Assembling magazine. "Carta Abierta a la Huelga de Arte 2000-2001," by Fernando Garcia Delgado (Argentina). Contributions by Jalil (Argentina), Henning Mittendorf (Germany), Géza Perneczky (Germany), Jean-Claude Gagnon (Canada), Frank Jensen (Denmark), Daniel Daligand (France), Guido Bondioli (Guatemala), Ruud Janssen (Holland), Guttorm Nordø (Norway), Chio Flores (Peru), Lancilloto Bellini (Italy), Giovanni Strada (Italy), Sefij Mikhnovsky (Ukrania), ASKalice (aka Ken Miller, USA), Picasso Gaglione (USA), et al. Mail Art exhibition, project and publication opportunities. Original works by several contributors.

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Public Property. Ramey Owen and Jim Hoadley, Editors. Circle Arts/West, San Francisco, California. 1985.

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

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Pulse. Ray Ellis, Editor. Dallas, Texas. 1982.

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

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Punkomik. David Jarvis, Editor. Aard Press, London, England. 1989.

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

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punks. Bay Area Daddaists, Editor. San Francisco, California. 1975.

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

(1975). Photocopy. 11"x8 1/2". (2 pages). The original sheet before cutting and binding to form the above.

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Punta Cero. A. Rueda, Editor. Santiago, Chile. 1990-1991.

No. 1 (June 1990). Offset and Mixed Media. 6 3/4"x4 3/4". (28 pages). Includes a reprint of "Camolawa-Pish: Revista de Arte Postal," edited by Carlos Montes de Oca (Chile).

No. 2  (May 1991). Offset and Mixed Media. (52 pages). Contributors include Hans Braumüller (Chile), Carlos Montes de Oca, et al. Edition 52/200.

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Pup, The. Bill Shields, Editor. The Mad Dog Press, Edina, Minnesota. 1987.

(April 1, 1987). Offset. 11"x8 1/2". (4 pages). "First in an Irregular Series of Emissions."  "Nam Poems," by the editor. Two letter by David Zack (Mexico). 

([April 23 1987]). Offset and Mixed Media. 11"x8 1/2". (6 pages). "First in an Irregular Series of Emissions." "Eat Yourself to a More Powerful Memory!," by Al Ackerman (USA). Illustrations by Snopes Jung.

([August 15, 1987]). Offset. 11"x8 1/2". 4 pages. "First in an Irregular Series of Emissions." "Rotational Situationism," by "Dr Al 'Sit-On-It-And-Rotate' Ackermans B-Bar-B Ranch, Tucson, Arizona." 

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Perfect Arrow: A Publication of Arrows, Concepts and Correspondance. Maris Kundzins, Editor. Tokyo Publications/The Puppet House, Seattle, Washington. (1977).

([1977]). Photocopy. 19"x12 1/2". (2 pages). Editor was the first "Monty Cantsin" assigned by David Zack (USA). Contributions by Ken Saville (USA), Fletcher Copp (USA), Whitson (USA), Cavellini (Italy), David Zack,  et al.

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Push-Machinery. Daniel F. Bradley, Editor. Toronto, Canada. ([1986]).

No. 11 ([1986]). Photocopy. 14"x8 1/2". (24 pages). Photocopy art. Contributions by John M. Bennett (USA), Jorge Caraballo (Uruguay), John Stickney (USA), Phosphorusflourish (aka John Rininger, USA), et al.

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Pyramid Magazine. John Atkin, Editor. Vancouver, Canada. (1987-1986.)

Issue 1.1 (n.d.). Photocopy and Rubber Stamp. 11"x4 1/4". (14 pages). "Post Card Issue." Edition 8/25.

Issue 1.4 ([November 1987]). Photocopy and Mixed Media. 11"x8 1/2". (26 pages). Contributors include Graf Haufen (West Germany), Kim Il Jung (West Germany), Matty Jankowski (USA), Robin Crozier (England), Mike Duquette (Canada), Jill Smith (Canada), Fruit Basket Upset (USA), Ryosuke Cohen (Japan), A-1 Waste Paper Co. (England), Nenad Bogdanovic (Yugoslavia), Luca Brunori (Italy), et al. Edition 12/35.

Issue 2.1 ([1988]). Photocopy and Mixed Media. 11"x8 1/2". (38 pages). Contributions by A.1 Waste Paper Co. (England), Martin Bernhardt (East Germany), Luca Brunori (Italy), Ryosuke Cohen (Japan), Mike Duquette (Canada), John Held, Jr. (USA), Ruud Janssen (Holland), Kazunori Murikami (Japan), Sh'wipe (Canada), the editor, et al. Edition 30/30.

Issue 2.4 (September 1988). Photocopy. 8 1/2"x5 1/2". (38 pages). "Measurement Issue." A special issue produced for the North Brooklyn Small Press Convention. contributors include Guillermo Deisler (East Germany), Pedro Bericat (Spain), A.! Waste Paper Co. (England), Kazunori Murikami (Japan), Ryosuke Cohen (Japan), Tamotsu Watanabe (Japan), Marc Bloch (USA), Serge Segay (USSR), Mike Duquette (Canada), Rea Nikonova (USSR), Jill Smith (Canada), Matty Jankowski (USA), the editor,  et al. Edition 23/30.

Issue 3.1 ([1988]). Photocopy. 11"x8 1/2". (44 pages). "Pyramid magazine may be reproduced in whole for the purpose o making it more widely available around the world. but this reproduction must not be in any way for commercial gain. Contributing artists hold individual copyright to their work which must not be used for commercial or other purposes without their consent." Twenty contributors from 10 countries including Matty Jankowski (USA), A-1 Waste paper Co. (England), Susanna Raumala (Finland), Clemente Padin (Uruguay), Miekal And and Liz Was (USA), Mark Rose (USA), Ruggero Maggi (Italy), Mike Duquette (Canada), John Held, Jr. (USA), Serge Segay (USSR), et al. Mail Art exhibition, project and publication opportunities. 

Issue 3.2 ([1989]). Photocopy and Mixed Media. 8 1/2"x5 1/2". 36 pages. Twenty-six contributors from 14 countries including Ryosuke Cohen (Japan), Johan Van Geluwe (Belgium), Guillermo Deisler (East Germany), A.1 Waste Paper Co. (England), Judith Railton (England), Giovanni Strada (Italy), Kim Il Jung (West Germany), Rea Nikonova (USSR), Balazs Janos (Romania), Joyce Glasner (Canada), Luc Fierens (Belgium), Fran Saunders (South Africa), Mark Rose (USA), et al. Mail Art project and publication opportunities. 

No. 3.3 ([1989]). Photocopy and Mixed Media. 8 1/2"x7". (36 pages). "White Space Issue." Twenty contributors from 10 countries including Yvonne Ostergaard (Canada), Giovanni Strada (Italy), Mike Duquette (Canada), Tomatsu Watenabe (Japan), Serge Segay (USSR), Ryosuke Cohen (Japan), Reima Makinen (Finland), et al.     

No. 3.4 ([1990]). Photocopy. 8 1/2"x5 1/2". (40 pages). Photocopy art. Twenty-seven contributors from 12 countries including Ryosuke Cohen (Japan), Mike Duquette (Canada), Jill Smith (Canada), Clemente Padin (Uruguay), A1 Waste Paper Co. (England), Jo Anne Enchevarria Meyers (USA), Katja Silset (Denmark), Ruggero Maggi (Italy), Tomatsu Watenabe (Japan), Kjell Nyman (Sweden), Rea Nikonova (USSR), Martin Berhardt (East Germany), et al. "Pyramid Reviews. Mail Art project and publiction opportunities.       

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