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

E
a

 

 

 

 

 

INDEX

E-Pele-Mele
Easy & Instant Mail Art Mag E3
Eat It Up
Effluvium
Einbecker Kunstblatt Mail-Art-News
Einai Aypio:A Mail Art Magazine
El Djarida
El Gallo Isustrado
El Networker Latinoamericano
Electronic Cottage: International Magazine
Electronic Mail Art
Elefanzine
11x30: A Publication of the Toledo Poets Center
EMILS
Emozioni
Energy: The Mailart Journal of Thoughts and News
Enigma
Entartete
Ephemera
Eraser Carver's Quarterly
Escape from Gravity
Evidence of Active Thought
Exclusive: Underground Mail World Wide
Expatriot, The
Experimenta
Expresion Deforme
Eyrie

 

E-Pele-Mele - Eyrie

 

E-Pele-Mele: Electronic Mail Art Netzine. Guy Bleus, Editor. Administration Centre, Wellen, Belgium. 1994-1995.

Vol. 1, No. 1 (April/May 1994). Photocopy. 11 3/4"x8  1/4". (20 pages). "'E-Pele-Mele' or 'E-Pale-Mail' is also the name of this archival magazine of 'The Administration Center'-42.292.' It characterizes some administrative and cyber aspects of what happens here. The classification of works and/or information of thousands of netlanders. It comprises several artistic sections: e.g. Copy-Art, Collages, Fax-Art, Assemblages, Rubberstamp-Art, Artistamps, Artists' Books, B&W & Color Photographs, Mail-Art, Posters Paintings, Postcards, Computer-Art, Poesia Visiva, E-Mail Art, Internet-Works, etc." Includes the essay, "Mail-Art During This Last Decade," by the editor. "Provisional List of E-Netland-Zines."

Vol. 1, No. 2 (October/November 1994). Photocopy. (22 pages). "Pre-Electronic Mail-Art Projects in Mexico," by the editor. "Provisional" lists of "E-Netlanders," and "E-Netland-Zines."

Vol. 2, No. 1 (January/February 1995). Photocopy. 11 3/4"x8 1/4". (28 pages). Essays, "A Dialogue Between the Postman and His Electronic Shadow," "Mail Art in Sweden," and "The Roles of the E-Netlanders," by the editor. List of "E-Netlanders," and "E-Netland Zines."

Vol. 3, No. 1 (December 1997). Photocopy. 11 3/4"x8 1/4". 37 pages. "Re: the E-Mail-Art & Internet-Art Manifesto." A project of the editor asking for short statements from 35 Mail Artists on the new electronic media and its' relation to Mail-Art.

Vol. 3, No. 2 (December 1997). Offset. 8 1/4"x5 3/4". 31 pages. Ruud Janssen interviews Guy Bleus. Appendix 1: "A Dialogue Between the Postman & His Electronic Shadow." Appendix 2: "Telecopying in the Electronic Netland." Appendix 3: "In Quest of Netland." Appendix 4: "Re: The E-Mail-Art & Internet-Art Manifesto." 

(1994-1995). Offset. 8 1/4"x5 3/4". Unpaged. Contains the contents of Vol. 1, No. 1; Vol. 1, No. 2; Vol. 2, No. 1; and  Vol. 2, No. 2/3.

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Easy & Instant Mail Art Mag E3. Kazuyoshi Takeishi, Editor. Aerial Print, Tokyo, Japan. 1989-1990.

No. 005 (June 7, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages). Reproductions of Mail Art received from Roman Muszynski (Poland), Shmuel (USA), Jorge Caraballo (Uruguay), Daniel Daligand (France), et al. Edition 4/20.

No. 011 (July 16, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages). Contributions by Makata Takamura (Japan), Mumbles (USA), Tamotsu Watanabe (Japan), Ruggero Maggi (Italy), Pierre Marquer (France), et al. Edition 18/20.

No. 012 (July 16, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages). Contributions by Klaus Groh (Germany), Oronzo Liuzzi (Italy), FaGaGaGa (USA), Shigeru Nakayama (Japan), Guy Bleus (Belgium), et al. Edition 12/20.

No. 015 (August 17, 1989). Photocopy. 4 1/4"x5 3/4". (24 pages). Contributions by Henning Mittendorf (Germany), Shozo Shimamoto (Japan), Shmuel (USA), Vittorio Baccelli (Italy), Antonio Gomez (Spain), et al. Edition 1/30.

No. 017 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (14 pages). Contributions by FaGaGaGa (USA), Guy Bleus (Belgium), Henning Mittendorf (USA), et al. Edition 19/20.

No. 018 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages). Contributions by Ivica Culoak-Catcherii (Yugoslavia), Le Peintre Nato (France), Kowa Kato (Japan), Shozo Shimamoto (Japan), et al. Edition 4/20.

No. 019 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages). Contributions by Dada Kan (Japan), Rod Summers (The Netherlands), Shozo Shimamoto (Japan), et al. Edition 19/20.

No. 020 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages). Contributions by Solamito Luigino (Italy), Shozo Shimamoto (Japan), Jun Kuramitsu (Japan), Luce Fierens (Belgium), Matthias Dreyer (Germany), et al. Edition 17/20.

No. 21 (October 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Vittorio Baccelli (Italy), Mukata Takamura (Japan), Ryosuke Cohen (Japan), Pascal Lenoir (France), Kowa Kato (Japan), et al. Edition 14/20.

No. 023 (October 22, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Michel Jeantieu (France), Teruyuki Tsubouchi (Japan), Ruggero Maggi (Italy), et al. Edition 10/20.

No. 030 (November 19, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Fodor Sandor (Romania), Henning and Angela Mittendorf (Germany), Barry Edgar Pilcher (England), John Held, Jr. (USA), Dada Kan (Japan), et al. Edition 18/20.

No. 035 (December 3, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Fernand Barbot (USA), Kjell Nyman (Sweden), Musicmaster (USA), Pascal Lenoir (France), Haddock (USA), et al. Edition 7/20.

No. 036 (December 10, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by  Musicmaster (USA), Pascal Lenoir (France), Kowa Kato (Japan), Fernand Barbot (USA), et al. Edition 8/20.

No. 034 (December 3, 1989). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Kjell Nyman (Sweden), Musicmaster (USA), Shmuel (USA), Factor X. (England), et al. Edition 9/20.

No. 045 (January 7, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Alain Dumont (France), Kunio Yamayoshi (Japan) Cerebral Shorts (Australia), John Held, Jr. (USA), Guy Bleus (Belgium), Shigeru Nakayama (Japan), et al. Edition 17/24.

No. 046 (January 7, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by  Solamito Luigino (Italy), Jose Oliveira (Portugal), Pascal Lenoir (France), Dada Kan (Japan), Factor X. (England), et al. Edition. 20/20.

No. 053 (January 28, 1990). Photocopy and mixed media. 4 1/4"x5 3/4". (20 pages).  Contributions by Tatotsu Watanabe (Japan), R(obert) C. Morgan (USA), Bruno Capatti (Italy), Marcello Diotallevi (Italy), Ryosuke Cohen (Japan), et al.

No. 054 (January 28, 1990). Photocopy and mixed media. 4 1/4"x5 3/4". (12 pages).  Contributions by John Held, Jr. (USA), Postproduct Exchange (Italy), Bruno Capatti (Italy), Klaus Groh (Germany), et al. Edition 9/20.

No. 055 (February 12, 1990). Photocopy and mixed media. 4 1/4"x5 3/4". (12 pages).  Contributions by Henning Mittendorf (Germany), Jorge Grimm (Brazil), Vittorio Baccelli (Italy), Guillermo Deisler (East Germany), et al. Edition 8/20. 

No. 060 (February 18, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by  Fernand Barbot (USA), Michel Jeantieu (France), Musicmaster (USA), Yoshio Takeda (Japan), et al. Edition 14/15.

No. 062 (March 4, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Matthias Dreyer (Germany), FaGaGaGa (USA), Barry Edgar Pilcher (England), Miroslav Janosek (Czechoslovakia), Jonas Nekrasius (Lithuania), et al. Edition 8/15.

No. 063 (March 4, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by John Held, Jr., Shmuel (USA), Henning Mittendorf (USA), Solamito Luigino (Italy), et al. Edition 10/15.

No. 074 (March 31, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).  Contributions by  Katsutoshi Sakai (Japan), Jean Spiroux (Belgium), Bruno Capatti (Italy), Shmuel (USA), et al.

No. 075 (March 31, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).  Contributions by  Musicmaster (USA), Factor X. (England), FaGaGaGa (USA), Shozo Shimamoto (Japan), Barry Edgar Pilcher (England), et al.

No. 084 (April 15, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).  Contributions by  Claude Lemaire (Belgium), Lily Scholes (England), Arto Kytöhonka (Finland), John Held, Jr. (USA), et al.

No. 085 (April 15, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).  Contributions by  Rod Summers (The Netherlands), Arto Kytöhonka (Finland), John Held, Jr. (USA), Rupert Hoyoell (England), et al.

No. 086 (April 30, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).  Contributions by  Shmuel (USA), O. Jason (England), Yoshio Takeda (Japan), et al.

No. 089 (April 30, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages). Contributions by Rubert Loydell (England), Factor X. (England), Mieko Togi (Japan), A1 Waste Paper Co. Ltd. (England), Vittore Baccelli (Italy), et al.

No. 090 (April 30, 1990). Photocopy. 4 1/4"x5 3/4". (12 pages).  Contributions by  A1 Waste Paper Co. Ltd. (England), Hogart (USA), Bruno Capatti (Italy), Rupert Loydell (England), et al.

No. 095 (May 13, 1990). Photocopy. 4 1/4"x5 3/4". (32 pages).  Contributions by Angela and Henning Mittendorf (Germany), A1 Waste Paper Co. Ltd. (England), Mark Bloch (USA), Géza Perneczky (Germany), Pascal Lenoir (France), Guido Bondioli (Guatemala), Shozo Shimamoto (Japan), et al.  

No. 096 (May 13, 1990). Photocopy. 4 1/4"x5 3/4". (32 pages).  Contributions by John Held, Jr. (USA), Kowa Kato (Japan), Wojtek Polcyn (Poland), Géza Perneczky (Germany), R(obert) C. Morgan (USA), Pascal Lenoir (France), et al.

No. 097 (May 13, 1990). Photocopy. 4 1/4"x5 3/4". (32 pages).  Contributions by Ivica Culjak-Catcher (Yugoslavia), Le Peintre Nato (France), Shozo Shimamoto (Japan), De Media (Belgium), Angela and Henning Mittendorf (Germany), et al.

No. 098 (June 3, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Shozo Shimamoto (Japan), Le Peintre Nato (France), Marcello Diotallevi (Italy), A1 Waste Paper Co. Ltd. (England), FaGaGaGa (USA), et al.

No. 099 (June 3, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by Géza Perneczky (Germany), Shozo Shimamoto (Japan), John Held, Jr. (USA), Bruno Capatti (Italy), A1 Waste Paper Co. Ltd. (England), Musicmaster (USA), Ruggero Maggi (Italy), et al.

No. 100 (June 3, 1990). Photocopy. 4 1/4"x5 3/4". (16 pages).  Contributions by John Held, Jr. (USA), Ruggero Maggi (Italy), Joaquim Branco (Brazil), Musicmaster (USA), Marcello Diotallevi (Italy), Kjell Nyman (Sweden), Géza Perneczky (Germany). et al.

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Eat It Up. Frank Void, Editor. Post Urban Press, Berkeley, California. 1981-1984.

No. 1 (June 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "Editorial content is not necessarily the opinion of this paper or any of its writers. 'Eat it Up' was started to fill the emptiness in, that regular magazines perpetually create. 'Eat It Up' will be published only when needed." Publication reviews.  Notice of a performance by Geoffrey Cook (USA).

No. 2 (n.d.). Photocopy. 5 1/2"x4 1/4". (8 pages). Local art notices. Interview with Jack Perkins.

No. 3 (July 4, 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a post urban artist? Xerox art is one answer. Its a quick way at visual thinking and your inspiration need only last seconds..."

No. 4 (July 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to the post urban artist? Performance art is one more answer. Live visual/audio activity for a few minutes to a few hours. One person or as a group..."

No. 5 (August 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "Cleveland Ohio Issue."

No. 6 (September 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Artists meeting..." Notice of Byron Black at Postcard Palace, San Francisco. 

No. 7 (October 1, 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? the night of a live show always proves to be interesting. Its the most real part of the total performance art sequence (conception, process, results) that may go unnoticed by the audience..."

No. 8 (Mid-October 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Printed information of all kings. Artists' books, posters, postcards, catalogs, announcements, etc...." This issue published in New York City.

No. 9 (November 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? making the scene, or just being seen at the right time and the right place..."

No. 10 (November 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to the posturban artist? mail Art. Postal art-as to not confuse any persons who may ask: Male Art? Mail art is a vehicle for posturban communication-your mailbox becomes an art gallery of sorts..."

No. 11 (December 1981). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to the posturban artist? Its a matter of influences to the posturban artist that make up the content of his/her artwork. Whether one admits to it or not, there is a line which art follows through history..."

No. 12 (January 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). What is art to a posturban artist? Little magazines (again) still are. Since our first issue back in may 1981, so called new magazines have come and gone. The temporary quality of this kind of media assures the freshness in content, but not always as expected..." California Futurism. Mail Art exhibition opportunities.

No. 13 (February 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). Published in Oakland, California. "What is art to a posturban artist? Phone art. More communication via established but mostly unused networks..." Mail Art show at Postcard palace, San Francisco.

No. 14 (March 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Openings: Openings are when the maximum amount of people come to see the art and artists. Or do they?..." "Mail Art Info."

No. 15 (April 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist: The posturban artist has alot to consider these days outside of the purely aesthetic realm: like his/her social standing in the artist community..." Mail Art exhibition opportunities.

No. 16 (May 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Writing: which of course leads to typing, since one needs to have it in a digestible form. Artists have always talked about and written about things they do and like; so, now this form is becoming visual and valid. Put down the paintbrush in lieu of a typewriter, see if you can line up thoughts and words in sentences. communication..." Mail Art information.

No. 17 (June 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist: No-art is art to a posturban artist. No-art art! What is it? Who are its' advocates? No-art art is the result of Modern art painting itself into a corner..."

No. 18 (July 1982). Photocopy. 5 1/2"x4 1/4". (8 pages).  "What is art to a posturban artist? Public Art. Site oriented work that has been seen by and influenced thousands of passer-bys..." Mail Art information.

No. 19 (August 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Sculpture; or is it something that takes up space and material as sculpture does, presents a dilemma to posturban thought..." Mail Art information.

No. 20 (September 1982). Photocopy and rubber stamp. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Stamp Art. (Rubber) that's right. Another spinoff; by-product of our economic work-a-day world finds its place in posturban culture..." "Mail art info: info art mail."

No. 21 (October 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Tape recording: trying to catch the elusive creativity that comes out in the form of audio/sound waves and put into magnetic information on to a strip of mylar..." Mail Art information.

No. 22 (November 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? copyright prohibited. the decision to use/exploit all and any scraps of imagery is central to the posturban artist..." "Mail-Art Information."

No. 23 (December 1982). Photocopy. 5 1/2"x4 1/4". (8 pages). "What is art to a posturban artist? Useful Information: all those well known and/or little known facts that make fife and art easier..." Mail art information.

No. 37 (February 29, 1984). Photocopy. 5 1/2"x4 1/4". (8 pages).  "What is art to a posturban artist? Memory-knowledge and ideas acquired from the useful past..." mail Art information. New section called, "Mailbox," listing names and address, among them a number of Mail Artists." Artists Talk on Art: International Mail Art, Parts 1 & 2."

No. 40 (May/June 1984). Photocopy. 5 1/2"x4 1/4". (16 pages). "What is art to the posturban artist? Propaganda: the manipulation of words and ideas that are the facts in our given situation. simplify ideas right out of reality..."Mail Art Information. "Mailbox." Extra pages with images by Stephen Ronan (USA), A.1. Waste Paper Co. Ltd. (England), et al.

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Effluvium. Seth Mason, Editor. San Francisco, California. (1994).

No. 1 ([1994]). Photocopy and Rubber Stamps, Twin Binding. 11"x8 1/2". (37 pages). "Submissions are strongly encouraged as t is the only way of receiving this magazine..." Image of the editor mailed out for artists to "alter and return." Contributions received from 36 artists including Mayumi Handa (Japan), Clemente Padin (Uruguay), Mike Dyar (USA), M. B. Corbett (USA), Picasso Gaglione (USA), Pascal Lenoir (France), Anna Banana (Canada), et al.

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Einbecker Kunstblatt Mail-Art-News. Frierdhelm Schulz, Editor. Mail-Art-Museum, Einbeck, West Germany. 1993.

No. 20 (April 1993). Photocopy. 11"x8 1/2". (26 pages). Documentation of the editors' Mail Art project, "Where Art the Colours?" Contributors list. Reprint of "Global Mail," No. 4. Text by Seiei Nishimura (Japan). Essay by the editor in German.

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Einai Aypio: A Mail Art Magazine. Open Head Arts, Editor. Athens, Greece. 1984.

No. 7/8 (1984). Photocopy and Mixed Media. 8 1/4"x5 3/4". Unpaged. Assembling magazine. Theme: Masters and Slaves. 36 participants from 13 countries. Edition 3/100.

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El Djarida. Guttorm Nordø, Editor. Trondheim, Norway. 1986-1993.

No. 2 (March 1986). Newsprint. 16 1.2"x11 1/2". (28 pages). Contributions by Manfred Vançi Stirnemann (Switzerland), Kum Nam Baik (South Korea), Klaus Groh (Germany), et al. "Words About Mail Art."  

No. 3 (June 1986). Newsprint. 15 1/2"x10 3/4". (24 pages). "Mail Art: Exhibitions Projects Magazines." Text by G. X. Jupitter-Larsen (Canada). Graphics by Dobrica Kamperelic (Yugoslavia), Manfred Vançi Stirnemann (Switzerland), et al.

No. 4 ([November 1986]). Newsprint. 16 1/2"x11 1/2". (24 pages). Cover by Robert Rehfield (East Germany). Notice for upcoming, "First International Mail Art manifest in Norway." Dr. Al Ackerman contributes, "My Job." Mark Block contributes, "Reasons I love New York." Centerfold illustrates recent Mail Art publications. Art by Andrzej Dudek Durer (Poland).

No. 5 (April 1987). Newsprint. 15 1/2"x10 1/2". (32 pages). One of the most informative Mail Art magazines ever published. Essays by Vittore Baroni (Italy), "Maillonta Tauta;" Géza Perneczky (Germany), "Mail Art as an Alternative?;" Guy Bleus (Belgium), "An Introduction About Art and Exchange;" Carlo Pittore (USA), "Stop Misery;" Klaus Groh (Germany), "Mail Art and the New Dada." Additional texts by Monty Cantsin (Canada), G. X. Jupitter-Larsen (Canada), Mark Bloch (USA), Pat Fish (USA), Tony Lowes (Ireland), Mike Bidner (USA), et al. Participant list for the exhibition, "First International  Mailart Manifest Norway."

No. 6 ([June 1987]). Newsprint. 10 1/2"x8". (64 pages). "The Wordless Issue." Names of contributors in "El Djarida," No. 7.

No. 7 ([January 1988]). Newsprint. 16 1/2"x11 1/2". (24 pages). "Philosophy of Mail Art," by Guy Bleus. "Chosen by the 4 Secret masters of the Universe," an interview with Monty Cantsin (Canada). "ten Ways to make Yourself Famous," by G. A. Cavellini. Large listing of Mail Art publications. "If Mailart is to Considered High Art," by J. P. Jacob (USA). "Mail Art in Czechoslovakia," by Petr Sevcik. "Mail Art-My Dream of Freedom and Love," by Henning Mittendorf. "Bury Me Alive," by Carlo Pittore (USA).

"Xtra-Issue." (January 1989). Offset. 4"x4 1/4". (8 pages). (16 page insert). Editorial. "I didn't want to print only stuff that I personally admired or preferred, the idea was to get into position as a kind of communicational-central, a distributor of works and ideas flowing in the different networks-receiving, selecting, reprinting, putting-together and distribute back to everyone who sent their works and info." Insert of texts and images contributed by Robert and Ruth Rehfield (East Germany), Harry Polkinhorn (USA), Stephen Perkins (USA), Vittore Baroni (Italy), et al.    

No. 8 (May 1989). Newsprint. 15 1/2"x11". (20 pages). "Art as a Drake," by Géza Perneczky. "Mail Art: Exhibitions Project magazines." Editorial: El Djarida is a contributors' magazine: Each issue is made out of material found in our mailbox..."

No. 10 (1993). Newsprint. 10"x10". (60 pages). "Neo Ist," by Monty Cantsin (Canada). "Taking the Offensive," by Stephen Perkins. Statements on networking by John Held, Jr. (USA), Luc Fierens (Belgium), Julee Peezlee (USA), guy Bleus (Belgium), Piermario Ciani (Italy), Lloyd Dunn (USA), Gianni Broi (Italy), Andrej Tisma (Yugoslavia), et al. "The Word Strike," by Mark Bloch (USA). "Where the Secret is Hidden," by John Held, Jr. (USA), Lloyd Dunn (USA) and Serge Segay (Russia). History of "El Djarida." Edition of 1,200.

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El Gallo Isustrado. Alberto Beltrán, Presidente del Consejo Editorial. Mexico City, Mexico. 1984.

(September 9, 1984). Newsprint. 15"x11 1/2". 19 pages. Special supplement of "El dia" newspaper on Mail Art. "Arte- Correo," by N. N. Arganaraz (Uruguay), "Cart de Eugenio Dittborn." Spanish version of "Circuito Internacional de Arte-Correo," translated by C. Espinosa (Mexico) from the original English version by Günther Ruch (Switzerland). "The Marginal Codices of MaMaBLAnCa," by Graciela  Gutiérrez Marx (Argentina). Text by Carol Stetser (USA). 

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El Networker Latinoamericano. Clemente Padin, Editor. Montevideo, Uruguay. 1991-1992.

No. 1 (October 1991). Offset. 8 3/4"x7". 8 pages. Special Mail Art magazine devoted to the, "Decentralized World-Wide Networker Congress 1992," in Latin America. Congress invitation in Spanish. Essays by Hans Braumüller (Chile) and Graciela G. Marx (Argentina). "El Network en Latinoamerica," by the editor.

No. 2 (February 1992). Offset. 8 3/4"x7". 8 pages. Magazine dedicated to the 1992 Networker Congresses. List of congress sessions worldwide. Notice of a trip to Uruguay and Argentina by John Held, Jr. (USA). Graphics by Edgardo-Antonio Vigo (Argentina). "Missing by Misery,"  a manifesto by Clemente Padin (Uruguay).

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Electronic Cottage: International Magazine. Hal McGee, Editor. Apollo Beach, Florida. 1989-1991.

No. 1 (April 1989). Offset. 8 1/2"x7". 64 pages. "Polyintermedia and a Strategy for Electromagnetic Survival," by Miekal And. "ND: An Ongoing History," by Daniel Plunkett (USA). Other articles on "cassette culture." Reviews.

No. 6 (July 1991). Offset. 11"x8 1/2". 76 pages. "An Inside Look at the Home Taper Phenomenon, Cassette Culture and Electronic & Experimental Music." "Questions and Answers," by Miekal And (USA) and Liz Was (USA). Article on Minoy (USA), Mail Artist and sound artist.

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Electronic Mail Art. Ruud Jannsen, Editor. TAM, Tilburg, Holland. 1994-1994.

No. 1 (March 25, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "Computers nowadays are used a lot in mail-art, but for most current mail-artists who use the computer, it is limited to 'local' work. The printing of texts, graphics etc...., and also the making of computerized address-lists, producing catalogues and art-cards with desktop publishing. Not that many use the computer for electronic communication."

No. 2 (April 24, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "The first article on 'electronic mail-art' caused some various reactions. That is why I started with this follow-up article on the same subject. the text is accessible on my own BBS, but also I spread this printed version because the discussion about electronic mail is important for all mail-artists."

No. 3 (May 26, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "Again I feel in the middle. Computers are included in my daily life, but for communication I have learned that the computer isn't always the best tool. It just depends on what you want to send, what your goal is, what the message I(s) that you want to send."

No. 4 (June 27, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages).  "Mail-art has brought many people together. the electronic mail-art will even make the group of networkers larger. The reason is simple. Spreading of electronic mail is expensive but has the advantage that it works even faster then xerox-machines."

No. 5 (October 18, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "This is the fifth article on electronic mail-art. In 1995 the Telenetlink year will take place. I will try to take part in this year and at the same time try to inform others by 'snail-mail' (none-computer users) about this project."

No. 6 (December 19, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "When will there be the first E-mail-art show, where there is a host-computer with full-size screen where all participants can log-in and participate in a joined drawing they make. The FAX-projects are an example of how the location of the artist isn't important anymore. He an produce art at his home while it occurs somewhere else too."

No. 7 (December 30, 1994). Photocopy. 8 1/4"x5 3/4". (4 pages). "I started to make a list of all the mail-artists I know that also have an E-mail address and I realize that there are only a few I know. I am not that active with E-mail yet, but what I remember from the BBS-world (I started with that in 1986 or so) is that there is a real kind of anarchy in that world. no judgment on the quality of what is being sent at all."

No. 8 (January 28, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages). "When your E-mail address is out there you can get mail from anybody who wants to react just to your 'name.' Also being mentioned in one of the E-mail magazines means that your address gets around and that people start to send you invitations. Good and bad ones I must say. There isn't that much difference compared to the 'snail-mail' as mail-art has been named now."

No. 9 (April 11, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages). "I made a two special arti-stamps so far that have to do with E-mail. One says: "I couldn't have sent this by E-mail" to emphasize that the snail-mail is a completely different (analog) communication form."

No. 10 (April 19, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages). "I know of mail-artists that are starting their own homepages. I myself also have a very small homepage with only a few lines, but the fact is that you don't mail the homepage to your (mail-) friends. You are waiting till they come and access your host (via Internet), and then they can just see what you made in a digital form. I miss the interaction a bit on this front."

No. 11 (May 17, 1995). Photocopy. 8 1/4"x5 3/4". (4 pages). "This article I would also like to discuss the e-zines as they n(o)w appeared in he network. The e-zines I know all consist of a text file that contains information the editor has received or that the editor has typed himself. They are produced on computers but are distributed like the traditional zines with one central point."

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Elefanzine. Ennio Pauluzzi, Editor. Florence, Italy. 1992.

No. 14 (March 1992). Photocopy. 8 1/4"x5 3/4". (20 pages). Contributions on the theme of elephants by Ashley Parker Owens (USA), Christopher dodge (USA), Giovanni Strada (Italy), A.1. Waste paper Co. Ltd. (England), Dmitriy Konstantinov (Russia), Vittore Baroni (Italy), et al.

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11x30: A Publication of the Toledo Poets Center. Joel Lipman, Editor. University of Toledo Publications Office, Toledo, Ohio. (1989-1992).

Vol. 1, No. 3 ([July 1983]). Offset. 30"x11". (1 page). George Myers, Jr. on visual literature. Bern Porter in Toledo. 

Vol. 3, No. 1 (n.d. [October 1990]). Offset. 30"x11". (1 page). Graphics by Ray Johnson (USA) and C.W. Poste (USA).

Vol. 3, No. 2 (n.d.). Offset. 30"x11". (1 page). "Telling It All: A roundup of Local, Regional, & Cosmic Lit Gossip," mentioning Bern Porter's 80th birthday.

Vol. 4, No. 1 (n.d). Offset. 30"x11". (1 page). Appearance by David B. Greenberger of "Duplex Planet."

Vol. 4, No. 2 ([1992]). Offset. 30"x11". (1 page). Visual poetry with rubber stamps by the editor. Richard Kostelanetz. Visual Poetry by Graciela G. Marx (Argentina).

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EMILS. Emils Steiner (aka Al Ackerman), Editor. Emils Lay Hypnagogic Center, San Antonio, Texas. (n.d., circa 1984).

(n.d.). Photocopy. 8 1/2"x5 1/2". (12 pages). Anagram of "SMILE" magazine. "For the non-conformists among you there is still a chance to take part in this process without actuarially taking up the multiple names. Several magazines have been started which are anagrams of "Smile" so that their originators can take part in our conspiracy without actually conforming to all its rules. Examples of this are "Slime" and "Miles."  

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Emozioni. Lucio Martelli and Gianni Donaudi, Editors. Torino, Italy. 1996.

Vol. 1, No. 2 (January 7, 1996). Photocopy. 11 3/4"x8 1/4". (30 pages). Reproductions of Mail Art Gianni Donaudi has circulated in the network.

(February 6, 1996). Photocopy. 11 3/4"x8 1/4". (34 pages). Mail Art sent into the network by Editor Donaudi, with reproductions of Mail Art received. Reprints of newspaper and magazine articles.

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Energy: The Mailart Journal of Thoughts and News. Michael Lumb, Editor. Ipswich, England. (1998).

No. 84 ([1998]). Photocopy and Mixed Media. 8 1/4"x5 3/4". Unpaged. "This is an open magazine for your MAILART thoughts and news. Please add your own page of pages and your name and address then, either pass-on or return to me. I will reproduce and circulate the magazine." 

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Enigma. Zebra Man, Editor. East Moline, Illinois. 1996.

No. 3 (May 1996). Photocopy. 11"x8 1/2". 14 pages. Contributions by Mail Artists Pag-hat the Rat-girl (USA), Predrag Petrovic (Yugoslavia), Malok (USA), et al.

No. 5 ([1996]). Photocopy. 11"x8 1/2". 24 pages. Contributions by Carolyn Substitute (USA), Malok (USA), Larry Angelo (USA), Obvious Front (D. Young), et al.

No. 9 ([1996]). Photocopy with Rubber Stamp. 8 1/2"x5 1/2". 24 pages. Contributions by Mail Artists Pag-hat the Rat-girl (USA), Geoffrey Cook (USA), Maximum Traffic (USA), Obvious Front (USA), et al.

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Entartete Kunst! Mark  Wambling, Editor. Rejected Mail Art Archive, Adelphi, Maryland. 1984.

Vol. 1, No. 1 (Spring 1984). Photocopy. 11"x8 1/2". (8 pages). Special issue on the events surrounding the Franklin Furnace, "Mail Art Now and Then," exhibition, and the panel discussion on Mail Art sponsored by "Artists Talk on Art." Contributions by Mark Bloch (USA), H. R. Fricker (Switzerland), Ken Friedman (USA), Lon Spiegelman (USA), John Held, Jr. (USA), Cracker Jack Kid (USA), Carlo Pittore (USA), et al.

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Ephemera. Ulises Carrión, Aart van Barneveld, and Salvador Flores, Editors. Other Books and So Archives, Amsterdam, Holland. 1978.

No. 10 (August 1978). Offset. 12 3/4"x9". (8 pages). "Special Langwe Jart issue by Gaglione, 1940-2040, Anna Banana." Gray printing on black paper. 

No. 12 (October 1978). Offset, Rubber Stamps and Mixed Media. 12 1/2"x9". (4 pages). Focus on Mail Artists from Brazil including Julio Plaza, Gilmar Cardoso, Leonhard Frank Duch, Paulo Bruscky, et al.

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Eraser Carver's Quarterly. Mick Mather, Editor. Clay, New York. 1996-1998.

Special Edition (1996). Offset. 8 1/2"x5 1/2".  (20 pages).  "The Portraiture of Tim Mancusi: Eraser Carvers Quarterly Special Edition.  "For the past three years the most amazing portraits have been arriving here at Eraser Carvers Quarterly Headquarters from the hand of Tim Mancusi of Rohnert Park, California...Tim Mancusi is, for certain among the best block relief print portrait artists we currently have and I'm proud to present this masterfully carved body of work." Portraits of Mail Artists Graffiti Grafix (USA), Ray Johnson (USA), Jeff Berner (USA), Mike Dyar (USA), Seth Mason (USA), Diana Mars (USA), M. B. Corbett (USA), Turk LeClair (USA), Mick Mather (USA), William Gaglione (USA), John Held, Jr. (USA), et al.

No. 32 (Autumn 1997). Offset. 8 1/2"x5 1/2".  16 pages. "Stamping with Printmaking Inks," by the editor and Larry Angelo (USA). "Making Artists' Books and Greeting Cards and Other Such-Like Projects," by Annie Wittels (USA). Eraserstamps by E. Seifried (Germany), Rudi Rubberoid (USA), Lavona Sherarts (USA), et al. Includes an original eraserstamp. "Factsheet Five" review by John Held, Jr. (USA) enclosed.

No. 33 (Winter 1998). Offset. 8 1/2"x5 1/2".  16 pages. "Artistamps for You," by the editor. "Some of you may already know that 4-U-2 POST is my old mail art 'issuing authority' for faux postage stamps, or as commonly referred to in the Eternal Network, artistamps."  Eraserstamps by Rusty Clark (USA), Zetetics (USA), Lavona Sherarts (USA), Ed Giecek (USA), et al.

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Escape from Gravity: Irregular Bulletin of the Association of Autonomous Astronauts. (Stewart Home), Editor. London, England. (1996).

No. 4 ([1996]). Offset. 11 3/4"x8 1/4". (4 pages). One in a series of "Neoist-Situationist" papers by the author of "The Assault on Culture: Utopian Currents from Lettrisme to Class War."  

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Evidence of Active Thought. Rev. Rich Mackin, Editor. Allston, Massachusetts. 1995.

No. 1 (Spring/Summer 1995). Photocopy and Mixed Media. 11"x8 3/4". 61 pages. Assembling magazine. "Basically a collaborative exploration in publishing...It is sponsored by Mass College of Art... " Edition of 300.

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Exclusive: Underground Mail World Wide. Jack Cordova, Editor. Salt Lake City, Utah. 1996.

No. 6 (December/January 1996). Photocopy. 8 1/2"x5 1/2". (12 pages). "I have yet to see another ad-source zine that offers camera-ready ads to all. Sure, Global Mail contains a million listings and maybe FactSheet five is pretty good on reviews, but hey! Where's the 'mail art' side to that. Don't get me wrong, I LOVE Global mail and recommend it highly to anyone looking for zine contacts. It's amazing..."  

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Expatriot, The. Lloyd Dunn, Editor. Bordeaux, France. 1995.

Communiqué No. 1 (January 1995). Photocopy. 6"x4 1/4". (24 pages). "This is no great literary work; it is just a few my thoughts as I encounter happenstances that interest me as I make a change in my life." Mail Artist Lloyd Dunn (see "Retrofuturism.") moves from Iowa to live in France with correspondent Ph. Billé. This is his diary of the adventure. In this issue December 1, 1994-January 10, 1995.

Communiqué No. 2 (February 1995). Photocopy. 6"x4 1/4". (24 pages). Diary continues from January 16, 1995-February 6, 1995.

Communiqué No. 3 (March 1995). Photocopy. 6"x4 1/4". (24 pages). "Suicide Special." Observations on the deaths of Ray Johnson and Guy Debord.

Communiqué No. 4 (April 1995). Photocopy. 6"x4 1/4". (24 pages). Diary from February 20-April 6, 1995. New "Mail corner" feature.

Communiqué No. 5 (May 1995). Photocopy. 6"x4 1/4". (22 pages). Diary from May 2, 1995-May 9, 1995. "Boite Postale 249 (Formerly 'Mail Corner').

Communiqué No. 6 (June 1995). Photocopy. 6"x4 1/4". (24 pages). The diary of a Mail Art expatriate continues.

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Experimenta. Yolanda Pérez Herreras, Editor. Madrid, Spain. 1998.

No. 0 (1998). Offset. 8 1/4"x4". (24 pages). Blending photography and visual poetry.

No. 0 (1999). Offset. 8 1/4"x4". 53 pages. Visual poetry from contributors Hilda Paz (Argentina), Harry Burras (USA), Giovanni Strada (Italy), Clemente Padin (Uruguay), John Held, Jr. (USA), et al.

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Expresion Deforme. Tina Anderson , Editor. San Ysidro, California. 1993.

(1993). Offset. 7 1/2"x6 1/2". (24 pages). Mail Art section with work by Ilmar Kruusamae (Estonia), Factor X (England), Ruggero Maggi (Italy), Henning Mittendorf (Germany), Ryosuke Cohen (Japan), Rea Nikonova (Russia), et al. Mail Artist Gerardo Yepiz graphic designer for the issue.

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Eyrie. Klaus Peter-Fürstenau, Editor. Frankfurt/Main, Germany. 1984.

Vol. 2, No. 5 (n.d.). Offset. 5 3/4"x4 1/4". 8 pages. Visual poetry by David Cole (USA), Michael Groschopp (Germany), Bern Porter (USA), et al.

Vol. 2, No. 6 (1984). Offset. 5 3/4"x4 1/4". (16 pages). Visual poetry by John M. Bennett (USA), David Cole (USA) and Bern Porter (USA).

Vol. 2, No. 7 (1984). Offset. 5 3/4"x4 1/4". (16 pages). Visual poetry by the editor, Serse Luigetti (Italy) and Bern Porter (USA).

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