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

N
a

 

 

 

 

 

INDEX

National Stampagraphic
ND (New Dachau)
Nebuleux Gazine
The Neo
Neo-Nooze
Neo-Psychadelic Man
Net-Informer: Monthly Networking Magazine
New World News
Netshaker
Netshaker Online
Network News
Network Times
Networker Congress Statements
Networking
Netzine
New Bulletin
New Lazarus Review
New Observations
Newark Press
Newsletter
Newsletter about the Mail-Interview Project with updated information
Newsletter for Participants and Other People Interested in the Mail-Interview Project
925
No Exit
Nomo the Zine
Nostril
NOVA
Novoid
Novy Zivot/New Life
nu-art
Numero
NYCS (New York Correspondence School) Weekly Breeder

 

National Stampagraphic - NYCS

National Stampagraphic. Melody Hope Stein, Editor. Taylor'd Graphics, North Valley Stream, New York. 1983-1997.

Vol. 1, No. 2 (January 1983). Offset. 10 3/4"x8 1/4". 23 pages. "We want to tell people about rubber stamp art, which we think will become a new art form in the 80's." Review of an exhibition at the University of California at Santa Cruz, "Masters of the Rubber Stamp," which "contained over forty works of rubber stamp art, done by five artists from the West Coast and Hawaii." Included in the exhibition was Leavenworth Jackson (USA).

Vol. 1, No 3 (April 1983). Offset. 10 3/4"x8 1/4". 23 pages. "From the Stamp Pad" features news of the rubber stamp world, including notice of the Dallas Public Library exhibition, "Their Indelible Mark: Rubber Stamps and Libraries," curated by Jonathan (John) Held (Jr.) (USA). "The fascinating idea behind this show is that whereas stamps are generally used to give us a preselected message, in this case stamps are used as research to find out information about the institution using the stamps." Article by Jonathan Held (aka John Held, Jr.), "Their Indelible Mark: Rubber Stamps and Libraries." Notice for "Stamp Art Magazine," edited by Bill Gaglione (USA).

Vol. 1, No. 4 (July 1983). Offset. 10 3/4"x8 1/4". 23 pages. "With this issue, 'National Stampagraphic' opens its pages to the wide world of worldwide mail art and mail art events. Mail art is one of the art forms which grew out of Dada in the 20's and Intermedia Arts in the 50's...Some of the people in contemporary mail art who we consulted to bring you this issue are: Ray Johnson, mail artist; Jean Brown, archivist; Heather Taylor, artist and patron; Dick Higgins, rubber stamp and mail artist; Carlo Pittore, mail artist and publisher of 'ME' magazine; Bill Gaglione, Dadaland, stampographer, publisher and mail artist; Jonathan Held, curator of the rubber stamp exhibit in the Dallas Library and friend of Fluxus artists; J. P. Jacobs of 'HYPE,' New York mail artist; and E. M. Plunkett, mail artist. We plan to bring 'National Stampagraphic' readers information on mail art events. We encourage anyone with information of mail art to share it with us so we can be a source of information about this art movement, which has members in the thousands all over the globe." The section, "From the Stamp Pad," features information on Bill Gaglione (USA), Leavenworth Jackson (USA), and Carlo Pittore (USA). "Reflections on Mail Art," by Melody Hope Stein. Notice for, "National Stampagraphic's First Mail Art Exhibition." Melody Hope Stein contributes, "A First Look at Fluxus." The founding of, "The Great Mail Art Supply," by Heather Taylor (USA) and Carlo Pittore (USA). "Heather explained that she wants to help mail artists get exposure to museums and American and international collectors." "Carlo Pittore: A One-Man Intermedia Event," by Franklinstein. "Rubber Stamps: Past, Present & Future (An Historical Perspective of Correspondence Art)," by E. M. Plunkett (USA). "Mail Art Events" lists exhibition, project and publication opportunities.

Vol. 2, No. 1 (October 1983). Offset. 10 3/4"x8 1/4". 31 pages. "Barton Lidice Benes: An American Stamp Artist," by Franklinstein. "Mail Art Events," features information on exhibition, publication and projects, including "Mail Art About Mail Art," organized by John Held, Jr. (USA), for Richland College, Dallas, Texas.

Vol. 2, No. 2 (January 1984). Offset. 10 3/4"x8 1/4". 23 pages. Review of the "Mail Etc., Art" catalog issued jointly by the University of Colorado, The Tyler School of Art, and Florida State University." Special "Dialogue" section features "Mail Artists on Mail Art." included are articles by Robert C. Morgan, "Stamp Art is not (Necessarily) Mail Art," and Chuck Welch on "Injury by Jury." Kihm Winship (USA) corresponds and submits an article found in the "Chicago Tribune." Article on Printed Matter bookstore, New York, New York.

Vol. 2, No. 3 (April 1984). Offset. 10 3/4"x8 1/4". 31 pages. "International Mail Art Exhibit at Franklin Furnace in New York," by Franklinstein. "Interview with Matthew Hogan, Curator/Archivist for Franklin Furnace," by Franklinstein. "Mail Art Events." Artists Talk on Art Mail Art Series discussed by Franklinstein in "The Global network." Melody Hope Stein contributes, "Return to Ray Johnson." Letter to the editor by Cracker Jack Kid (USA), and the article, "It ain't (Necessarily) So, Mr. Morgan: A Mail Art Rebuttal."

Vol. 2, No. 4 (July 1984). Offset. 10 3/4"x8 1/4". 31 pages. "Mail Art Dialogue" by Franklinstein, is "a response to the recent 'mail art' exhibition held at the Franklin Furnace in Soho, New York City, and ensuing panel discussions held at the 22 Wooster Street Gallery this spring." "Franklinstein's Guide to Being in on the Rules for Joining the International Rubber Stamp and Mail Art Network and/or Displaying Mail, Postal or Correspondence Art." Jape Iros (aka Epistolary Stud Farm) (USA) contributes 16 points in the text "A Cosmic Haha to the Franklin Furnace Brouhaha." "Mail Art Listings."

Vol. 3, No. 1 (October 1984). Offset. 10 3/4"x8 1/4". 39 pages. "Mail Art Events." Review by Franklinstein of the book, "Correspondence Art: Source Book for the Network of International Post Art Activity," co-edited by Michael Crane and Mary Stofflet. "The Handsome Johnson Mail Art Grant Token." "From the Stamp Pad," highlights the special "Posthype" issue on the Franklin Furnace Mail Art controversy, edited by John P. Jacobs (USA). 

Vol. 3, No. 2 (January 1985). Offset. 10 3/4"x8 1/4". 39 pages. "Mail Art Listings." "Stampart #5: A Non-Review," by Melody Hope Stein. "This is not a magazine in the usual sense-it is a collective piece of art which could be considered an 'artist book.'"

Vol. 3, No. 3 (April 1985). Offset. 10 3/4"x8 1/4". 39 pages. "From the Stamp Pad" remarks on Bill Gaglione (USA), who designed the back cove. "The rubber stamp museum is a privately owned archive of rubber stamp art, maintained by William Gaglione of Abracadada rubber stamp company...William's archive has attracted the notice of artists worldwide, who participate in the mailart network or use stamps in the production of their artwork." Melody Hope Stein contributes an article on found stamps, "Finders Keepers." "Artists today use stamps they find either as they find them or somewhat altered...mail artist Steve Random, in addition to carving his own stamps, has a tremendous collection of unaltered finds." Franklinstein contributes, "Pagework, Bookwork, and Artist's Book," commenting on the activity of New York MOMA Library Director, Clive Phillpot. "Mail Art Events."

Vol. 3, No. 4 (July 1985). Offset. 10 3/4"x8 1/4". 39 pages. "(What is) Mail Art (Anyway)," by John Held, Jr. (USA). "How to Put on Your Own Mail Art Show," by Peggy Calvert (USA). "Mail Art Events" contains a notice for "Mail Art Shows, 1970-1985," curated by John Held, Jr. "The Museum Project: Mail Art for Kids at the Dallas Museum of Art," by John Held, Jr. "First Adventures in Mail Art," by Melody Hope Stein.

Vol. 4, No. 1 (October 1985). Offset. 10 3/4"x8 1/4". 39 pages. "Mail Art Events."

Vol. 4, No. 2 (January 1986). Offset. 10 3/4"x8 1/4". 39 pages. Review of "The Rubber Fanzine," edited by Rudi Rubberoid (USA). "How Much Do You Love Your Garbage Can: A High School-Sponsored Mail-Art Event," by Starr Poppinga, includes a participant list for "The Garbage Can Show." "Mail Art Events."

Vol. 5, No. 3 (April 1986). Offset. 10 3/4"x8 1/4". 39 pages. "ABRACAXerox: Does 'Copy Quick' Mean copy Art," by Melody Hope Stein, mentions the photocopy art of Paul Zalevansky (USA) and Louise Neaderland (USA). "A Word on Stamping Xeroxes: Electric Rubber, That Is," by Robert C. Morgan (USA). "Julie Hagan Bloch: Master Carver," by Franklinstein. "Mail Art Events." Results from "Wild and Bizarre Correspondence Art Exhibition." "Everything You Wanted to Know About Networking: Another Article in the Mail Art Series," by Franklinstein.

Vol. 7, No. 1 (Fall 1988). Offset. 11"x8 1/2". 38 pages. "Mail Art Events." Chuck Welch (USA) contributes, "Adrift."

Vol. 7, No. 2 (Winter 1989). Offset. 11"x8 1/2". 38 pages. "Mail Art Events."

Vol. 7, No. 4 (Summer 1989). Offset. 11"x8 1/2". 39 pages. "From the Stamp Pad," notes a trip to Belgium by John Held, Jr. (USA). "Mail Art Glasnost," by Chuck Welsh (USA). "Is Fluxus Dead," by Melody Hope Stein. "Mail Art Events." "Where Rubber Stamps and Mail Art connect: Excerpts from 'A World Bibliography of Mail Art,'" by John Held, Jr. (USA). "since 1987, I have been working on collecting writings for a bibliography of mail art. in addition to going to the library and using conventional research techniques, I have gone directly to mail artists and asked them for information on either writings they have produced or in which they have been mentioned. two hundred artists from thirty countries contributed information."

Vol. 8, No. 4 (Summer 1990). Offset. 11"x8 1/2". 39 pages. "From the Stamp Pad," mentions Mark Bloch's "The Last Word: Art Strike, Word Strike, Plagiarism and Originality," which will give the reader "an adult perspective on many things relating to alternative non-gallery, non-monetary art movement concerns. (Be advised that at times there is some strong language)." Mail Art exhibition, publication and project listings in "Mail Art Events."

Vol. 9, No. 1 (Fall 1990). Offset. 11"x8 1/2". 39 pages. "Mail Art Events" lists exhibition, publication and project opportunities.

Vol. 9, No. 4 (Summer 1991). Offset. 11"x8 1/2". 39 pages. "The First Rubber Stamp Frenzy and Mail Art Show." "Mail Art Events."

Vol. 9, No. 3 (Spring 1991). Offset. 11"x8 1/2". 39 pages. "Recycle Your Mail," by Melody Hope Stein. "Mail artist Ed Plunkett has set up his own redistribution system. For many years, he gas gathered unwanted mail, combined it with other papers, and given it away as an artwork. I was delighted to receive what Ed calls the 'Surrealist Digest' from 'Hypnogogic City.'" "Mail Art Events."

Vol. 10, No. 2 (Winter 1992). Offset. 11"x8 1/2". 43 pages. "Mail Art Events."

Vol. 10, No. 4 (Summer 1992). Offset. 11"x8 1/2". 43 pages. "The Year of the Networker Congress," by John Held, Jr. (USA). "Why should this discussion of networker congresses be on interest to the rubber enthusiast? Because it should be remembered that rubber stamp usage is just one part of an Eternal Network as envisioned by Fluxus artists George Brecht and the late Robert Filliou in the sixties. ...If you enjoy the comradery (sic) of your fellow rubber stamp artists, think how much your pleasure can be expanded by learning about other artist-driven networks." "Mail Art Events."

Vol. 11, No 2 (Winter 1993). Offset. 11"x8 1/2". 43 pages. "National Stampagraphic Goes to a Networker Congress," by Franklinsten, in which the writer attends a meeting of Mail Artists at the Museum of Modern Art, New York, New York, and meets Peter Küstermann (Germany) and Angela Pähler (Germany) during their "Personal Delivery" project. Others present included Clive Phillpot (USA), The Barbot Family (Claudine, Fernand and Gerard) (USA), John Evans (USA), Matty Jankowski (USA), Delford Brown (USA), Buster Cleveland(USA), et al. "Angela set up the mail sign announcing: 'Official Netmail Postal Station-Pick Up/Delivery'. One by one people came and collected their mail. Each piece of mail was entered into the log, signed for and delivered. In some cases, there was mail to be delivered to people in Europe on Peter and Angela's return trip." 

Vol. 12, No. 1 (Fall 1993). Offset. 11"x8 1/2". 50 pages. "Mail Art Events," lists exhibition, publication and project opportunities.

Vol. 12, No. 2 (Winter 1994). Offset. 11"x8 1/2". 47 pages. "From the Stamp Pad" features a notice on the upcoming book by Chuck Welch (USA), "Eternal Network: A Mail Art Anthology," accompanied by a photograph of Welch (aka Crackerjack Kid) at his perforator. "Do-It-Yourself Postage Stamps," by John Held, Jr. (USA), includes artistamps by buZ blurr (USA), Julie Hagan Bloch (USA), E. F. Higgins (USA), Henning Mittendorf (Germany), Pawel Petasz (Poland), and Donald Evans (USA). "Mail Art Events and Exchanges." "What's An Electronic Bulletin Board Anyway?," by Franklinstein, mentions Mail Art postings on Prodigy by Arto Posto (USA).

Vol. 12, No. 3 (Spring 1994). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and Exchanges."

Vol. 12, No. 4 (Summer 1994). Offset. 11"x8 1/2". 51 pages. "Mailfestas and Marathons: Crosscurrents in Contemporary Mail Art," by John Held, Jr. (USA), contrasts a "Mail Art Marathon" event in Dallas, Texas, with the "Quebec Mail Art Congress," both of which were attended by the author. "Mail art had spawned cooperative projects across cultural boundaries; the zine revolution; set the pattern for electronic communication; encouraged meetings beyond the postal encounter; helped to distribute artistic, social, and political information across borders; stimulated cross-cultural performances; created video and audio projects; and helped examine the aesthetics of communication across international borders...And there lay the weakness of the Mail Art Marathon. Devoid of discussion, or ancillary activities, I feel the event took on all the conceptual punch of a quilting bee." "Mail Art Events and Exchanges."

Vol. 13, No. 1 (Fall 1994). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and Exchanges."

Vol. 13, No. 2 (Winter 1995). Offset. 11"x8 1/2". 51 pages. "Mail Art Call Takes on Spousal Abuse," by Franklinstein, discusses a Mail Art show by Arto Posto (USA). "Mail Art Events and Exchanges."

Vol. 13, No. 3 (Spring 1995). Offset. 11"x8 1/2". 51 pages. "From the Stamp Pad," discusses the death of Ray Johnson. "The loss of Ray Johnson, the father of mail art, makes us reflect on the creative roots of rubberstamping. For many of our readers, learning about Ray's contributions will be new; for many of us he is a Kind of hero, a pioneer." "CorresponDance: The Reason Behind the Ray Johnson Tribute." "This tribute to mail art and its founder Ray Johnson, is our way of saying thanks to the man who created an art that is enjoyed by people all over the world, people who want to express their ideas in an art form that is wide in its acceptance of media and style." "Bunny Dead: the Mysterious Life and Death of Ray Johnson and the Rise of the New York Correspondance School of Art," by John Held, Jr. (USA). "For some there were clues. One of Johnson's recent mailing read, "Bunny Dead. The New York Correspondence School Bunny was Murdered Today. 12.30.94." Tributes on Ray Johnson's life and work by Valery Oisteanu (USA), Bern Porter (USA), Carlo Pittore (USA), John Evans (USA), Buster Cleveland (USA), Picasso Gaglione (USA), Tim Mancusi (USA), Arto Posto (USA), Gerard Barbot (USA), and Chuck Welch (USA).

Vol. 13, No. 4 (Summer 1995). Offset. 11"x8 1/2". 51 pages. "A Portrait of the Woman of the Year 2000: Meet UhOh Posto," by Franklinstein, in which the California artist gives her definition of Mail Art. "I think there are many core elements that constitute mail art. For myself, it is the guilt free exchange of artistic expression between a network of creative people...It can challenge our aesthetic senses. It pushes emotional buttons and has the potential to challenge our personal philosophies. It is a tangible footprint of the creative process."

Vol. 14, No. 1 (Fall 1995). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and Exchanges."

Vol. 14, No. 2 (Winter 1996). Offset. 11"x8 1/2". 51 pages. "Mail Art Events and Exchanges."

Vol. 14, No. 3 (Spring 1996). Offset. 11"x8 1/2". 51 pages. "Alternative Artfest '96," by Sali Dali (USA). "Mail Art Events and Exchanges."

Vol. 15, No. 1 (Fall 1996). Offset. 11"x8 1/2". 51 pages. "National Stampagraphic's 15 Anniversary Contest," features rubber stamped envelopes from readers of the magazine.

Vol. 15, No. 3 (Spring 1997). Offset. 11"x8 1/2". 51 pages. "Tim Mancusi: Portrait of a Carver," by Melody Hope Stein, features carved eraser portraits of Ray Johnson (USA), The Fake Picabia Bros. (USA), Seth Mason (USA), M. B. Corbett (USA), Mick Mather (USA), et al. "Tim Mancusi's Tips for Carving Portraits." "Mail Art Events and Exchanges." 

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ND (New Dachau). Daniel M. Plunkett, Editor. Austin, Texas. 1982-1995.

No. 1 (March 1982). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (16 pages). "Here begins the first of a series. A series of statements and newsletters to inform and to bring to view various thought...'ND' will primarily focus in on events relating to New Dachau and the rest of Texas. But also relating to the exchange of music/tapes/films, and whatever...But to expose and convey the location and time is simple enough. Yet never able to clearly bring across the actual thought process, the ritualistic, tribal, feeling. Perhaps by this fragmentation process some patterns fall together." Contact list of artists from Holland, France, Canada and Italy. Date stamped "Mar. 1982" on the cover. New Dachau is the appellation given to the editor's hometown of Arlington, Texas. 

No. 2 (1983). Photocopy. 8 1/2"x7". 22 pages. Mail Art from Hungarian Artists Robert Swierkiewicz and Andres Lengyel. Performance Art by Guy Bleus (Belgium). Contributions by John M. Bennett (USA), Rob Van Winjgaarden (Holland), et al. Publication reviews. "We are interested in exchange/contact."

No. 3 (June/July 1984). Photocopy. 8 1/2"x7". 33 pages. "Maps: A Mail Art Show International," organized by Tom Pack (USA). "Mail Art/Debate-Inquest," by Ruggero Maggi (Italy). Notices of projects by Ryosuke Cohen (Japan), John held, Jr. (USA), Xerox Sutra Editions (USA). "Audio Goes Video," by Peter Meyer (Sweden). Contributions by Peggy L. Calvet (USA), Michael VooDoo (USA), Henry Fox (USA), Jacques Massa (France), Paulo Bruscky (Brazil), Pier Van Dijk (Holland), Anna Banana (Canada), E. F. Higgins, et al. "An Open Letter to Dr. Ronny Cohen," by Carlo Pittore (USA). Reprint of a statement by Lon Spiegelman (USA) and Mario Lara (USA) on "non-rules" and "considerations" in Mail Art. "Information" lists notices of publications and exhibitions. (Two letters from the editor enclosed).

No. 4 (January 1985). Photocopy. 8 1/2"x7". 33 pages. Mail Art exhibition announcements. "Who Needs Mail Art?" by Misery Research Center (USA). Interview with Günter Brus (Austria). "A Short History of Amazon," by Ruggero Maggi (Italy). "The Joke Project of International Mail Music and Art," by Seiei Jack Nakahara (Japan). "New Music America," by Liz Was (USA). Contribution by Arturo G. Fallico (USA). Publication reviews.

No. 5 (1985). Photocopy. 8 1/2"x7". 25 pages. "Enclosed is material we have been sent, worked on, and now combined. Do draw thoughts around stones with thread and only then realize those possibilities. The event process and information is up to you to use or whisper. Use your own constant change of intent and reason, the reality depending on concentration. More to follow." Notices for Mail Art exhibitions and projects. "A Historic Mail-Art/Night Exercise-Meeting, in New York 31 March 1985." Interview with Andre Stitt (North Ireland). "Photo-Performances" by Pat Larter (Australia). "Information" lists publications of interest.

No. 6 (1986). Photocopy. 8 1/2"x7". 31 pages. Contributions by Nenad Bogdanovic (Yugoslavia), Ryosuke Cohen (Japan), Johan Van Geluwe (Belgium), Vittore Baroni (Italy), Ruggero Maggi (Italy), Luc Fierens (Belgium), et al. "Open Letter," by Graf Haufen (Germany). "Mail Art Shows" contains an editorial, and a reprint of the Spiegelman/Lara "consideration" statement. "there is the need for mail-Art shows. At the least, they are a vehicle for networking various bodies together. As long as mail-art shows continue to sprout up and mail out their lists, then the most visible part of mail-art will continue to live, be thought about, and of course, be argued about." Activities of the Canadian Correspondence Art Gallery, Calgary, Canada, under the direction of Chuck Stake (Canada). :Reviews" lists audio work. "Information" lists publications, exhibition opportunities and events.

No. 8 (1987). Offset. 8 1/2"x7". 41 pages. Inside cover by Lon Spiegelman (USA). Back cover by Ivan Sladek (Czechoslovakia). "Spiegelmisim." Contributions by Serse Luigetti (Italy), Shozo Shimamoto (Japan), Andrzej Georgiew Plocka (Poland), Dogfish (USA), The Avant Garde Museum of Temporary Art (aka Miekel And and Liz Was) (USA), et al. "Mail Art Congress," profiles the events surrounding the "Southwest USA Decentralized Worldwide Mail Art Congress," organized by John Held, Jr. at the Dallas Public Library. "Open Letter," by Günther Ruch (Switzerland). "Andre Stitt/Kurt Kren Texas Tour." "Information" lists publications.

No. 9 (1987). Offset. 8 1/2"x7". 39 pages. "Comment" by the editor. Interview with Lon Spiegelman (USA). "Tara Babel," by Andre Stitt (North Ireland), profiles the North Ireland Mail and Performance Artist. Contributions by Clemente Padin (Uruguay), Janet Janet (aka Stephen Perkins) (USA), et al. Interview with Andrej Tisma (Yugoslavia). Interview with Ivan Sladek (Czechoslovakia). Interview with Shozo Shimamoto conducted by the editor and john Held, Jr. (USA). Exhibition opportunities. "Reviews" lists audio works. "Information" lists Mail Art exhibitions, publications and projects.

No. 10 (1988). Offset. 8 1/2"x7". 44 pages. "Contact-Exchange-Document. A dialog that continues where trust can be exchanged and an honest effort realized through constant cause. A circuit of reason and sanity which peers back through the glass and laughs." Interview with Ruggero Maggi (Italy). Interview with John Held, Jr. (USA). "Modern Realism History" lists events (1982-1987) at the Dallas, Texas, gallery, curated by John Held, Jr.  Interview with Shaun Caton (England). Mail Art exhibition opportunities. Publication reviews.

No. 11 (1991). Video Cassette. 8"x4 3/4". Includes Photocopy Booklet. 7 1/4"x4 1/2". (4 pages). "A compilation of 30 individual works from mailartists, audio artists, film and video artists, performance artists and others." Contributors include Byron Black (Indonesia), Andre Stitt (Northern Ireland), buZ blurr (USA), Hapunkt fix (Germany), James Chefchis (USA), John Held, Jr. (USA), Lloyd Dunn (USA), Ruggero Maggi (Italy), Luc Fierens (USA), Lon Spiegelman (USA), Malok (USA)...Stan Brakhage (USA), et al.

No. 12 (1989). Offset. 8 1/2"x7". 45 pages. "Mail Art Shows." "Hiroshima Shadow Project," by Ruggero Maggi (Italy). "Publications." "Dr. Mail," by Musicmaster (USA).

No. 13 (1990). Offset. 8 1/2"x7". 43 pages. Honoria (USA) joins the "Mailart Department" of the magazine. Interview with Françoise Duvivier (France), editor of "Metro Riquet" magazine. Interview with The Haters, a noise band headed by Gerald X. Jupitter-Larsen (USA). "Mail Art Projects," compiled by Honoria. Interview with Jan De Boever (Belgium), director of De Media, Eeklo, Belgium. Interview with Dobrica Kamperelic (Yugoslavia). "Audio Reviews." "Publications."

No. 14 (1991). Offset. 8 1/2"x7". 43 pages. Interview with Carolee Schneemann (USA). "Art as Telepathy, Meeting and Spirituality," by Andrej Tisma (Yugoslavia). Interview with Scott MacLeod (USA). "International Mail Art Symposium in the USSR," by John Held, Jr. (USA). Interview with Ilmar Kruusamae (Estonia, USSR), conducted by John Held, Jr. Interview with Lloyd Dunn (USA). "Mail Art Projects," compiled by Honoria (USA). Statement by Andrej Tisma. Interview with Byron Black (Indonesia), in which he mentions introducing Ryosuke Cohen (Japan) and Shozo Shimamoto (Japan) to Mail Art, while he was in Japan teaching English. Publication and audio reviews.

No. 15 (1991). Offset. 8 1/2"x7". 47 pages. Statements on Mail Art by Guy Bleus (Belgium) and Lon Spiegelman (USA). "Mail Art Projects." Interview with Al Ackerman (USA) by John Held, Jr. (USA). Contribution by Keith De Mondonca (England), Clemente Padin (Uruguay). "The Ideological Character of Network," by Clemente Padin. Audio reviews. Publications reviews. 

No. 16 (June 1992). Offset. 8 1/2"x7". 62 pages. "Hater Tour Diary" by Gerald Jupitter-Larsen (USA). "Mail Art Shows," a listing of exhibition opportunities. "Crossing the Cactus Curtain: Politics and Isolation Test the Commitment of Latin American Artists," by John Held, Jr. (USA), mentions the Mail Art activities of Edgardo-Antonio Vigo (Argentina), Graciela G. Marx (Argentina), Clemente Padin (Uruguay), and Hans Braumüller (Chile). Interview with the Crackerjack Kid (USA). "Andrzej Dudek-Dürer," by Adam Sobota, discusses the Mail Art activities of the Polish artist. "Art That networks," by Chuck Welch (USA). Publication and audio reviews. 

No. 17 (1993). Offset. 9"x7 1/2". 72 pages. Photo-documentation performance, "Who Are You? And Who We Are?!," by Dobrica and Rora Kamperelic (Yugoslavia). "Mail Art Projects," compiled by Honoria (USA), Interview with Serge Segay (Russia). Interview with Rod Summers (Holland). "Deblockade of Creativity," by Andrej Tisma (Yugoslavia). "Networkers and Blockades," by Chuck Welch (USA). Interview with Angela and Peter Küstermann (Germany), by Dobricia Kamperelic (Yugoslavia). publication reviews.

No. 18 (1994). Offset. 9 1/2"x7 1/2". 72 pages. Interview with James Cobb (aka Six Fingers Nunzio) (USA). Mail art exhibition, publication, and project listings compiled by Honoria (USA). "Who knows what mail art is? Only the mail artists know. Can you know what mail art is? Send something to any of these mail artists and what you get in return will be a facet of the priceless mysterious jewel of mail art." "The Mail Art-Internet Link," by Chuck Welch (USA). "Picasso of the Underground," by John held, jr. (USA), profiles Picasso Gaglione (USA). "Networkers, Blockades and Misunderstandings," by Andrej Tisma (Yugoslavia). Audio, publication and catalog reviews. 

No. 19 (1995). Offset. 10"x7 3/4". 72 pages. Interview with Alan Kaprow," by John Held, Jr. (USA). Ashley Parker Owens (USA) interviewed by Michael Corbett (USA). "Mail Art Projects," lists exhibition, project and publication opportunities. "Mexico Mailart: an Interview with Gerardo Yepiz and Luis Ariza," by dg (aka Diana Garcia, editor of "Bad News Bingo") (USA). "Audio Reviews." "Book Reviews." 'Publications."     

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Nebuleux Gazine. Zona (aka Bernard Banville), Editor. Greenfield, Massachusetts. 1984.

No. 2. (1983). Photocopy, Ink and Rubber Stamps. 4"x2 1/2". (30 pages). "Although it is hoped that the Gazine will be of value and interest to the art student, it was conceived primarily for the general public. With this in mind, 'Nebuleux' attempts to present nebatronomic theory (with historical footnotes) as clearly and concisely as possible. Considering the elusive nature of the subject, this is no easy task...Here then is 'Nebusleux,' the zine that never was.

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Neo, The. Monty Cantsin (aka Istvan Kantor), Editor. Montreal, Canada. 1979.

No. 1 ([1979]). Photocopy. 11"x8 1/2". (12 pages). Neoist publication by Hungarian Istvan Kantor (aka Monty Cantsin). "...a 5 year paper, 1979-1984..." Contributions by G. E. Marx Vigo (Argentina), Johan Van Geluwe (Belgium), Anna Banana (Canada), David Zack (USA), Pawel Petasz (Poland), Gabor Toth (Hungary), Al Ackerman (USA), Lomholdt Formular Press (Denmark), et al. 

No. 2 ([1979]). Photocopy. 11"x8 1/2". (12 pages). "The Neo is the local & extraterrestrial paper of the Neoists." Contributions by Klaus Groh (Germany), Anna Banana (Canada), Pamela Rome (USA), Al Ackerman, Medvigy Gabor (Hungary), et al. "Neoists Eat Mail Art."

No. 3 (1979). Photocopy. 11"x8 1/2". (12 pages). Contributions by Lon Spiegelman (USA), Pawel Petasz (Poland), John M. Bennett, et al. "He then went over to the golden cooking pot and started to make the 'WORLD PHANTOM SOUP for ETERNAL IMMORTALITY or TOTAL SUICIDE', using ingredients sent by international artists from the USA, Canada, Holland, Jugoslavia, Germany, Australia..."

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Neo-Nooze. Oz (aka David Zack), Editor. Immortality Center, Tepoztlan, Mexico. 1984.

(April 20, 1984). Photocopy. 13 1/2"x8 1/2". 12 pages. "I'm a little at a loss to write on this OOZE, because the photos are so pretty also there's a pile of scraps to mosaic with. However, it makes sense to mix mail with the images of Tepoztlan because what comes in the mail here is as much HERE as what goes on here at the Immortality Centre..." Listing of "Correspondence Novels." Contributions by  Cavellini (Italy) and Volker Hamann (Germany). "The two collages were sent by Volker Haman, German Correspondent who has organized a project in Tokokoe, Ghana, Africa, that has mail artists also working on a U. N. water project."

(May 10, 1984). 11"x8 1/2". (6 pages). "My mail today is really interesting. This often happens. The mail as a whole is just very interesting. So I'm listening to Rod Summers' tape of birds and going to go through the mail piece by piece, and consider its network relations. Then I can use these pages and collage them a little so they look like art, or rather actually to put images into play with the words, as you might electronically. I used little pictures before, in Lomholt's Danish book, ART AND ARTISTS, on Cavellini, Robin Crozier, Ulisses Carrion, Davi de Thompson, Horacio Zabala and me."

(June 21, 1984). Photocopy and Rubber Stamp. 11"x 8 1/2". 9 pages. An open letter to recent correspondents of the editor. "Leavenworth. Hm how ya doin? Where yuh been? Ah, I bet I've used "Sheesh" a hundred fifty times now, each one part of the hm CN*ah 5 here, LEAVENWORTH JACKSON ILLUSTRATOR. Hm well you see I got that cute little photo stamp of you and Held Jr. in front of the giant Cavellini stamp, really appreciate this sort of art. McGuff is out of words, or I think getting onto walls with spray paint. Mad fool! My highest compliment, or right up there anyhow." Personal letter to Luke McGuff (USA) on last page.

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Neo-Psychedelic Man. Maximum Traffic, Editor. Butler, Pennsylvania. (1992.)

No. 1 ([1992]). Photocopy. 5 1/2"x4 1/4". (16 pages). More from the editor of "Maximum Traffic."

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Net-Informer: Monthly Networking Newsletter. Andrea Ovcinnicoff, Editor. Genova, Italy. 1993-1996.

No. 1 (July 1993). Photocopy. 16 1/2"x11 3/4". (2 pages). Continuation of the editor's previous publication, "Arte Arte." Exhibition, publication and project opportunities. Publication reviews. "Events." Edition of 85.

No. 12 (June 1994). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. "Events" listings include "Free Dogs in the Galaxy" congress in Florence, Italy, organized by Gianni Broi (Italy); and a program organized in Quebéc, Canada, by Jean-Claude Gagnon (Canada). 

No. 14 (August 1994). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. Other sections over events, messages, and documentation.

No. 15 (September 1994). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. "Messages" section mentions Peter and Angela Netmail (Germany) in Indonesia. Reproduction of "Faux Post" exhibition invitation with stamps by A1 Waste Paper Company Ltd., (England).

No. 69 (April 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Special section on Ray Johnson (USA), includes tributes by Franco Santini (Italy), Gianni Broi (Italy), Honoria (USA). Mail Art exhibition, publication and project opportunities. Publication reviews. Events. Messages.

No. 71 (June 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. "Networker Telenetlink Year 1995" proposal by Chuck Welch (USA). Events include notice of the exhibition "Banco de Ideas Z: Artists Publications from Cuba," at Modern Realism Gallery, Dallas, Texas.

No. 72 (1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. "Evoluzione del Telenetlink Project," by Chuck Welch (USA). Events section notes a recent trip of Clemente Padin (Uruguay) to Chile to meet with Hans Braumüller.  

No. 75 (October 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. Notice of the activities of The Stamp Art Gallery, San Francisco, in "Events" section.

No. 76 (November 1995). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. Special mention of "Global Mail," with reproduction of recent cover.

No. 79 (February 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). News of the recent death and life of Guillermo Deisler (1940-1995) nomad Mail Artist and Visual Poet, who had lived in Chile, Bulgaria and East Germany. Exhibition, publication and project opportunities. Publication reviews. "Net Informer: San Francisco Confidential, Part One," by John Held, Jr. (USA). Events. Messages.

No. 80 (March 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). "Net Informer: San Francisco Confidential, Part Two," by John Held, Jr. (USA).  Exhibition, publication and project opportunities. Publication reviews. "La Rivoluzione della Comunicazione," by Andrea Bonanno (Italy).

No. 81 (April 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). Exhibition, publication and project opportunities. Publication reviews. "Net Informer: San Francisco Confidential, Part Three," by John Held, Jr. (USA). Events. Documentation.

No. 83 (June 1996). Photocopy. 16 1/2"x11 3/4". (2 pages). "Mailartists Surfing the Net." Gianni Broi (Italy) contributes, "Peter Pan ci Bacchetta Tutti." Exhibition, publication and project opportunities. Publication reviews. "Net Informer: San Francisco Confidential, conclusion," by John Held, Jr. (USA).

(July 29, 1996). Photocopy. 11 3/4"x8 1/4". (one page). "Dear Friend, this is my open letter to communicate that I have recently decided to interrupt till indefinite times all my activities concerning Mail Art and networking./ This decision comes after something like eight years of active participation inside the International Mail Art Network, in which -since August '89- I also made 84 consequential issues of my monthly networking newsletter 'Net Informer'. This newsletter has now to be considered definitely finished./ I want to clarify that my decision to leave mail Art is not to be seen as a polemic or caused by disillusions or lost expectations of any kind. I have simply decided to dedicate a larger attention to other activities of my interest, and to start some other news./ I think my activity in Mail Art has been one of the most interesting, stimulating, precious and important in my all life. I must thank all of you for this...Parts of my mail art archive will be donated to other international mail art archives in the world."

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Net Word News. David (Cole), Editor. (Brooklyn, New York). 1992.

No. 1 (Fall Equinox 1992). Photocopy. 11"x8 1/2". (5 pages). Letters to "P.F. of L.A." (Penis Fudsworth, aka Lon Spiegelman), and P. L. W. (aka H. B.) of B.N.Y. (Peter Lamborn Wilson, aka Hakim Bey [Brooklyn, New York]). "Crossing Borders...a mailable response," by the editor. Signed "david" in Cole's distinctive signature.

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Netshaker. Crackerjack Kid (aka Chuck Welch), Editor. Hanover, New Hampshire. 1992-1994.

Vol. 1, No. 1 (March 1992). Photocopy. 8 1/2"x5 1/2". 32 pages. "Welcome to the first issue of 'Netshaker,' a netzine that includes shakes, rattles, rants, raves, and whatever else jams my modem and mail box. Assume that this zine format will vary according to whims, moods, collaborative obsessions, and interest at the time. content is determined by who I collaborate, correspond, or cavort with in the ethereal open network. In 1992 'Netshaker' will include themes relating to the Decentralized World-Wide Networker Congress." This issue devoted to the "NC Networker Databank Congress." "The NC Networker Databank Congress will function as a repository for any NC92 congress documentation created from August 1, 1991 to December 31, 1992. Participation is open to all who choose to write a networker statement or organize an NC92 congress. Documentation of all forms is encouraged and may include invitations, proposals, statements, audio/video cassettes, computer discs, photographs, graphics, zines, etc. all information will be made available through the Alternative Traditions in the contemporary Art Archive at the University of Iowa, Iowa City, Iowa." Listing of 245 items prepared in connection with the 1992 Networker Congresses, a year long Mail Art event. Graphics by the editor, Vittore Baroni (Italy), David Jarvis (England), David Cole (USA), Peter W. Kaufmann (Switzerland), Fa Ga Ga Ga (USA), Lon Spiegelman (USA), and John Held, Jr. (USA). An important document of network activity during the Networker Congress year.

Vol. 1, No. 2 (August 1992). Photocopy. 8 1/2"x5 1/2". (18 pages-numbered 33-50). "In 1992 'Netshaker will include themes relating to the Decentralized World-Wide Networker Congress." In this issue, reports of the Metanet Congress (AVA Gallery, Lebanon, New Hampshire, September 23, 1992), and, "A Netshaker Seance with Joseph Beuys," March 11, 1992. "Peter Küstermann and Angela Pähler are German Mail Art Networkers who have been traveling around the world hand-delivering mail art in person and in performance. They will arrive in White River Jct,. Vermont by train on September 22 and stay with Crackerjack Kid at his home in Hanover, New Hampshire until September 24th." Listing of "Networker Congress: Books, magazine, Audio and Video material." Listing of "Planned Open Sessions-key contacts."

Vol. 2, No. 1 (March 1993). Photocopy. 8 1/4"x6 3/4". (36 pages-numbered 51-86). "Introducing Mail Art: Karen Elliot Interviews Crackerjack Kid and Honoria." report on the "Networker Databank", in which the editor formed "an open repository for over 2,000 networker congress artifacts including correspondence, rubberstamps, artistamps, stickers, networker statements, computer disks, audio and video cassettes, photographs, drawings, magazines, artists' books, and 3-D objects." Andrej Tisma contributes the essay, "In War and Under Blockade," including information of Yugoslavian Mail Art Congresses. The editor responds with, "Networkers and Blockades." "Mail Art Shows and Projects." Concluding essay by the editor, "Meta-Network Report: A General Summation of NC92."

Vol. 2, No 1: Postscript (March 1993). Photocopy. 11"x8 1/2". (10 pages-numbered 87-92). "Readers may recall that 'Netshaker' (Vol. 2, No. 1) presented, 'In War And Under Blockade,' by Serbian networker Andrej Tisma. Crackerjack Kid's response to this essay appeared in the same issue. Here is the entire text of the Sremski Karlovci Congress in this supplemental issue of 'Netshaker' accompanied by Serbian networker Andrej Tisma's and C. J. Kid's rebuttals."

Vol. 2, No. 2 (September 1993). Photocopy. 8 1/2"x7". (28 pages-numbered 87-112). "This issue of 'Netshaker' includes a special feature devoted to current network dialogue, mail art gender and myths." The editor contributes, "Mail Art Gender and other (sic) Myths." Report on the activities of "Rev." Paul Summers (USA), at "Netshaker Harmonic Divergence." Proposal for "Networker Telenetlink 1995."

Vol. 3, No. 1 (May 1994). Offset. 11"x8 1/2". (16 pages). Special issue devoted to the exhibition, "Artists' Stamps: An International Mail Art Exhibit," at the AVA Gallery, Lebanon, New Hampshire, April 22-May 21, 1994. "Artists' Stamps: An Introduction," by the editor. "Mail Art Magazine Listings." Listing of participants contributing to the "Artists' Stamps International Mail Art Exhibition." Artistamp sheet by the editor, featuring portraits of Mail Artists. "An Artists' Stamp Portrait of Mail Art, by Chuck Welch, exhibition curator." Illustrated artistamps by Ashley Parker Owens (USA), Rosz Craig (Australia), James Warren Felter (Canada), Anna Banana (Canada), Nonlocal Variable (USA), M. Vançi Stirnemann (Switzerland), Anna Boschi (Italy), Michel Hosszu (France), Keith Bates (England), Alice Borealis (USA), Pere Souse (Spain), Rea Nikonova (Russia), Sandor Gogolyak (Yugoslavia), et al.

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Netshaker Online: Mail Art Cyberspace Ezine. Chuck Welch (aka Crackerjack Kid), Editor. Hanover, New Hampshire. 1994-1995.

Vol. 1, No. 1 (January 1, 1994). Computer Print. 11"x8 1/2". (6 pages). "Created as an off-shoot of Welch's 'Netshaker Magazine' this free mail art electronic zine (e-zine) is intended to inform and interconnect the worlds of international mail art and internet's on-line community of artists." "Networker Telenetlink Year 1995: A Network Proposal," by the editor.

Vol. 1, No. 2 (February 1, 1994). Computer Print. 11"x8 1/2". (6 pages). "Electronic Mail-Art," by Ruud Janssen (Holland), and a response by the editor. "Networker Telenetlink 1995."

Vol. 1, No. 3 (August 16, 1994). Computer Print. 11"x8 1/2". (10 pages). "This issue of 'Netshaker On-Line' is devoted to Reid Wood's proposal for a Networker Telenetlink '95 Fax project and to Honoria's report of the Free Dog Club held May 6-8 in Italy."  

Vol. 2, No 2 (July 7, 1995). Computer Print. 11"x8 1/2". (13 pages). With handwritten notes by the editor responding to the challenge that the publication is not "the first mail art cyberspace electronic magazine."  Includes "Networking in Latin America," by Clemente Padin (Uruguay); "The Electronic Museum of Mail Art (EMMA); "'Cyberstamps'" Invitation. "Mail Art's 1st World Wide Web Mail Art Show; 'MailArtEmailArt;'" "Cyberstamps: A Neologism;" and "The networker Telenetlink 1995."

Vol. 2, No. 3 (October 30, 1995). Computer Print. 11"x8 1/2". (6 pages). "Eternal Network Banned!" Reviews of the editors book, "Eternal Network: A Mail Art Anthology." Proposal for "Networker Telenetlink."  

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Network News. Earthly Delights, Editor. Cornwall, England. (1995).

No. 8 ([Spring 1995]). Photocopy. 8 1/4"x5 3/4". (24 pages). "The Binary Tribe Issue." "Nigel Ayers of Nocturnal Emissions Interviewed by Vittore Baroni for 'Rockerilla Magazine,' 1994. Translated from the Original Italian." Publication reviews.

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Network Times. W. J. Zack and Shauna M. O'Donnell, Editor. Network Enterprises, Westfield, New Jersey. 1984.

No. 2 (Summer 1984). Photocopy. 11"x 8 1/2". 17 pages. "Reading List" includes "Photostatic" magazine. Notice for "the Dada Festival in San Francisco, September 2-9."

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Networker Congress Statements. Aggressive School of Cultural Workers, Iowa Chapter (Stephen Perkins and Lloyd Dunn), Editors. The Drawing Legion, Iowa City, Iowa. (1991).

(December 1991). Photocopy. 8 1/2"x5 1/2". (16 pages). "Where two or more artists-networkers meet during the course of 1992, there a Congress will take place." "This booklet is comprised of networking statements received by the Aggressive School of cultural Workers, Iowa Chapter (ASCW-IA) generated in response to the Decentralized World-Wide Networker congress 1992. Intended to open up debate and to provide a vehicle for congress discussions, these edited statements should not be viewed as a comprehensive overview of networking in the 90s, rather as a glimpse of the different approaches and philosophies that networkers hold at this time." Edited Statements by Gianni Broi (Italy), Giuseppe Iannicelli (Italy), Crackerjack Kid (USA), Anna Couey (USA), Robert Morgan (USA), Eric Finlay (England), David Cole (USA), John Held, Jr. (USA), Warren Burt (Australia), Ever Art (Holland), Eliot Cantsin (USA), Reed Altemus (USA), Stephen Perkins (USA), Gerard Barbot (USA), Lillian Ward (England), Harry Polkinhorn (USA), Mit Mitropoulis (Greece), Peter Küstermann (Germany), Mark Corroto (USA), Piermario Ciani (Italy), Dobrica Kamperelic (Yugoslavia), César Figueiredo (Portugal), Keith Bates (England), Carlo Pittore (USA), Guy Bleus (Belgium), Bruno Chiarlone (Italy), Vittore Baroni (Italy), Daniel Daligand (France), Ruggiero Maggi (Italy), Luc Fierens (Belgium), Andrej Tisma (Yugoslavia), Graciela Marx (Argentian), Keith De Mendonca (England), Carl Loeffler (USA), Hans Braumüller (Chile), et al. Enclosed in a list of "Decentralized Networker Congresses 1992" organized by date, organizer, theme and address.

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Networking. Crackerjack Kid (aka Chuck Welch), Editor. Brookline, Massachusetts. 1985.

Vol. 1, No. 1 (Spring 1985). Photocopy. 11"x8 1/2". (8 pages).
Documentation of a "New York Naval Casting" party, under the auspices of the editors' "Umbilical Dominion," held in New York City, March 2, 1985, attended by American Mail Artists Buster Cleveland, Faith Heisler, Jim Quinlin, J. P. Jacob, Carlo Pittore, Marilyn Rosenberg, David Cole, Valery Gerlovin, Zona, John Evans, Citizen Kafka, E. F. Higgins, Mark Bloch and Steve Random. Letters from C. Steven Short (USA), Gene Laughter (USA), Anna Banana (Canada), Mark Bloch (USA) and Al Ackerman (USA). "Flags for World Peace: Update." Also included, "It Ain't (Necessarily) So, Mr. Morgan: A Mail Art Rebuttal," by Chuck Welch. Signed by the editor.

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Netzine. Vittore Baroni, Chuck Welch, and Volker Hamann, Editors. Viareggio, Italy. (1989).

No. 1 ([1989]). Photocopy. 17"x11". (20 pages). An attempt to establish "an international magazine devoted to networking theories. The three editors, starting from their consolidated experience in the field of Mail Art, gathered a series of texts from contacts living in different continents, to provide a cross section of the topics and problems inherent in correspondence art today...The first issue of 'Netzine' was collected and edited by three networkers living in different countries, through exchanges and discussions carried out in the mail...The editorship of 'Netzine' is not fixed, but was casually agreed upon for practical purposes. Future editorships should include any number of interested networkers, while the three undersigned editors remain free to drop in and out of the project." signed by Anthroat (aka Volker Hamann,West Germany), Vittore Baroni (Italy) and Cracker Jack Kid (USA). Texts by Vittore Baroni (Italy), Volker Hamann (West Germany), Graciela Marx (Argentina), Géza Perneczky (West Germany). Ryosuke Cohen (Japan), Stewart Home (England), Paul Summers (USA), Clemente Padin (Uruguay), John Bernd (USA), Graf Haufen (West Germany), Robin Crozier (England), Carlo Pittore (USA), Andrej Tisma (Yugoslavia), Mark Bloch (USA), Joachim Frank (USA), Al Ackerman (USA), Peter Sevcik (Czechoslovakia), Gerald Jupitter-Larsen (Canada), Serge Segay (USSR), Michael Leigh and Hazel Jones (England), Ayah Okwabi (Ghana), Gunther Ruch (Switzerland), Peter Horobin (Scotland), David Jarvis (England), Chuck Welch (USA), Mike Duquette (Canada), et al. Contains important texts on Mail Art Networking written expressly for this issue.  (Advance Copy). 

No. 1 (July-September 1989). Photocopy. 8 1/4"x5 3/4". (48 pages). "A Collaborative Net-Working Tool for Discovering Ethereal Open Networks." Copy distributed by Vittore Baroni (Italy) in specially designed envelope. Cover by Crackerjack Kid (USA), Contains the same texts as the above item. Near the Edge Editions, alternatively listed as "Arte Postale!," No. 60. 

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New Bulletin. Alessandro Ceccotto, Editor. Mail Art Archive, Adria, Italy. 1991-1993.

No. 11 ([1991]). Photocopy. 8 1/4"x5 3/4". (8 pages). Documentation of "Shave and Brains," Mail Art exhibition, curated by the editor and Gherardo Boccato (Italy), held at the Sala Grotte del Boldini, Ferrara, Italy, February 1-13, 1991. Notice for the upcoming "Apartheid Project," curated by the Ceccotto and Boccato.

No. 13 (1991). Photocopy. 8 1/4"x5 3/4". (8 pages). Reproduction of invitations from various exhibitions and projects organized by Reiu Tüür (Estonia), Alain Dumont (France), Raphael Nadolny (Poland), Baudhuin Simon (Belgium), et al.

No. 22 ([1992]). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". (12 pages). Text by Silvia Barsi (Italy). List of Italian Mail Art Congresses, including ones in Milan, Pisa, Vada, Pontenossa, and Alessandria. Exhibition opportunities. Documentation of a Networker Congress by Emilio Morandi (Italy) and Giovanni Strada (Italy). 

No. 23 ([1992]). Photocopy and Rubber Stamp. 8 1/4"x5 3/4". (14 pages). Mail Art exhibition, publication and project opportunities. "Networker Congress," by Emilio Morandi (Italy). List of "Fixed Sessions" for the 1992 Decentralized World-Wide Networker Congress.

No. 28 ([1992]). Photocopy. 8 1/4"x5 3/4". (28  pages). Contributions by Jean-François Robic (France), Pinky (Italy), Ruggero Maggi (Italy), Malok (USA), Antonio Gomez (Spain), Ruud Janssen (Holland), Honoria (USA), Giovanni Strada (Italy), John Held, Jr. (USA) and Andrej Tisma (Yugoslavia), et al. Mail Art exhibition, project and publication opportunities.

No. 29 (1993). Photocopy. 8 1/4"x5 3/4". (40 pages). Contributions by Ruggero Maggi (Italy), Rod summers (Holland), Antonio Gomez (Spain), Michael Lumb (England), Ruud Janssen (Holland), Rea Nikonova (Russia), Rora and Dobrica Kamperelic (Yugoslavia), Boris Radivojkov (Yugoslavia), Clemente Padin (Uruguay), Pinky (Italy), Raimondo Del Prete (Italy), John Held, Jr. (USA), et al. Mail Art exhibition, project and publication opportunities. Edition 65/70.

No. 31 ([1993]). Photocopy. 8 1/4"x5 3/4". (44 pages). Contributions by Ruggero Maggi (Italy), Jean-François Robic (France), Michael Leigh (England), Friedrich Winnes (Germany), Emilio Morandi (Italy), Predrag Petrovic (Yugoslavia), Dobrica Kamperelic (Yugoslavia), Rod Summers (Holland), et al. Reprint of "The Postman Always Looks Twice," ("London Times Saturday Review, November 21, 1992), regarding a lecture by John Held, Jr. (USA) at the V&A Museum. Reprint of "Wisconsin Life Trip: And and Was in Dreamtime Village," by C. Carr (Village Voice"). "Reprint of Bibliozine #8," edited by John Held, Jr. Press release for "Subjective Artpool," an exhibition from the Artpool Archive (Hungary) in Marseilles, France. Mail Art exhibition, publication and project opportunities.

No. 32 (April 1993). Photocopy. 8 1/4"x5 3/4". (42 pages). Contributions by Ruud Janssen (Holland), Malok (USA), Ruggero Maggi (Italy), Antonio Gomez (Spain), Rod Summers (Holland), Giovanni Strada (Italy), John Held, Jr. (USA), Clemente Padin (Uruguay), Reiu Tüür (Estonia), Andras Voith (Hungary), et al. Mail Art Congress documentation by Silvia Barsi (Italy) and Lancillotto Bellini (Italy) concerning congresses in Florence and Verona. "Art is Stamps," by Guy Bleus (Belgium). Mail Art exhibition, project and publication opportunities.  

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New Lazarus Review. Eugene Miller, Editor. Hudson, New York. 1980.

No. 3/4 (1980). Offset. 8 3/4"x5 3/4". 135 pages. Richard Kostelanetz  (USA) and George Quasha (USA), contributing editors. "The Something Else Press, Part Two," by Dick Higgins (USA). Contributions by Paul Zelevansky (USA) and John Held, Jr. (USA).

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New Observations. Stephen Perkins and Lloyd Dunn, Guest Editors. New York, New York. 1994.

No. 101 (May/June 1994). Offset. 10 3/4"x8 1/4". "Introduction: Copy Culture: Barbarians in the Copy Shop," by Lloyd Dunn (USA) and Stephen Perkins (USA). "New distribution networks and new venues began to emerge to display and disseminate the products of these bands of xerografists, posterists, college artists, zinesters and other assorted image tricksters. Their work began to appear on the walls across urban America, in xerox zines stacked up in alternative bookstores and record stores, on record and cassette covers and a thousand other places where this tide of copy culture infiltrated the old cultural order...the articles that follow illustrate how this new technology was able to provide an economical means by which cultural refuseniks could transmit information nationally and internationally and, more importantly, play a vital role in fostering and linking together the many diverse communities that make up an oppositional culture." Frank Moore, "Cultural Subversion." Laurence Roberts, "The Queer Zine Scene." Stephen Perkins, "He Who Rode a Tiger: Chester Carlson (1906-1968)." Mark Frauenfelder, "Cheap Memes: Zines, Metazines, and Virtual Press." Mark Palmer, Plagiarism: The Truth in Doubling." Lloyd Dunn, "Report from the Festival of Plagiarism: Glasgow, Scotland, August 4-1, 1989." Reed Altemus, "Bibliography." Contributions by Al Ackerman (USA), Vittore Baroni (Italy), et al.       

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Newark Press. Mark Wambling, Editor. Adelphi, Maryland. 1983-1985.

Vol. 2, No. 1 (1983). Photocopy. 11"x8 1/2". (10 pages). "It has only been one year since I started publishing NEWARK PRESS/ In that time, I have built up a network of correspondence with mail artists, poets, other self-publishing artists, as well as others who don't fit into any specific category...When I am asked to define NEWARK PRESS, I usually say that it is an alternative space for artists and their use of language. The white-ness of the pages represent a sort of wallspace for the contributing artists to exhibit their printed work as well as any type of advertising. it allows the individual artist to communicate with the total network of artists NEWARK PRESS represents." Catalog for the "Unemployment Mail Art Exhibit: Postmark 83," shown at Frostburg State College, Frostburg, Maryland, September 18-24, 1983. List of contributors. Mail Art exhibition opportunities. Contributions by Epistolary Stud Farm (USA), Mark Bloch (USA), Leavenworth Jackson (USA), et al.

Vol. 2, No. 2 (Fall 1983). Photocopy. 8 1/2"x 5 1/2". (12 pages). Contributions by Al Ackerman (USA), Zona (USA), Epistolary Stud Farm (USA), David Greenberger (USA), et al.

Vol. 2, No. 3 (Winter 1984). 14"x8 1/2". 10 pages. Correspondence from Gene Laughter (USA). Contributions by Carlo Pittore (USA), Crackerjack Kid (USA), Larry Smith (USA), Al Ackerman (USA), Dogfish (USA), John M. Bennett (USA). Mick Mather (USA), Steve Random (USA), et al. "Artists' Books," by the editor. Mail Art exhibition and publishing opportunities. 

Vol. 2, No. 4 (Almost Spring 1984). 11"x8 1/2". 12 pages. "NEWARK PRESS was started so that artists could communicate with each other in an open, visual form, which relates to mail Art, but we also print art news and info that most art media doesn't print. We do this so that our readers will be exposed to new and different material." Contributions by K.S. Ernst (USA), Larry Smith (USA), Steve Random (USA), Al Ackerman (USA), Crackerjack Kid (USA), et al. "On Mail Art," by Jape Iros (aka Epistolary Stud Farm) (USA). "Mail Art/Debate-Inquest," by Ruggero Maggi (Italy). mail Art exhibition, project and publication opportunities.

Vol. 2, No 5 3/4 (April/May 1984). Photocopy and Rubber Stamps. 11"x8 1/2". (18 pages). "Special Stamp Issue." Editorial. List of 33 contributors including Al Ackerman (USA), Guy Bleus (Belgium), buZ blurr (USA), G. A. Cavellini (Italy), David Cole (USA), Ryosuke Cohen (Japan), H. R. Fricker (Switzerland), Klaus Groh (Germany), John Held, Jr. (USA), E. F. Higgins (USA), Leavenworth Jackson (USA), Ruggero Maggi (Italy), Manuel Marin (Mexico), Rockola (USA), Chuck Welch (USA), et al. "Postfolk Artistamps: folk Artists of the Philatelic and mail Art Worlds," by Chuck Welch (USA). Stampsheet by Chuck Welch (aka Crackerjack Kid). List of rubberstamp companies and rubberstamp magazines.

Vol. 2, No. 6 (Summer 1984). 11"x8 1/2". (12 pages). "Our cover designer, Gene Laughter, has been busy this summer with his new Apple Macintosh computer. He uses it to control a mailing list of approx. 3,500 names, as we; as a few newsletter and most of all-MailArt." Mail Art exhibition, project and publishing opportunities. "ManifestoShnN Archives: An Archive Founded for the Purpose of Storing and Disseminating Contemporary Artists' Manifestores and Technical Statements," by Larry D. Smith (USA). "Cavellini's Contribution," by  Dave Oz (aka David Zack) (USA). Contributions by buZ blurr (USA), David Cole (USA) Al Ackerman (USA), et al. "Photo-documentation of the "European Cavellini Festival," organized by Guy Bleus (Belgium).

Vol. 3, No. 1 (Autumn 1984). Photocopy. 8 1/2"x5 1/2". 23 pages. Cover by Arturo G. Fallico (USA). "Report on Interdada 84," by John Held, Jr. (USA). Contributions by al Ackerman (USA), John M. Bennett (USA), Leavenworth Jackson (USA), Gene Laughter (USA), Ruggero Maggi (Italy), Ryosuke Cohen (Japan). et al. Mail Art Exhibition, project and publication opportunities. Publication reviews.

Vol. 3, No. 2 (Winter 1985). Photocopy and Rubber Stamp. 14"x8 1/2". 14 pages. "Art Robotics issue." Gene Laughter, guest editor. "The seems to be fear lurking in the hearts of many artists. Fear of artificial intelligence and fear of artificial creativity. a robot is another tool. just as the computer is a natural extension of a  pen and pencil. having played around with the new apple Macintosh for the past year, I wanted to see what the reactions of mail artists are to the words 'art robot.' This issue of Newark Press reflects these reaction." Cover by Ray Johnson (USA). Contributions by David Cole (USA) and Serse Luigetti (Italy), David Greenberger (USA), John M. Bennett (USA), The Gerlovans (USA). Carlo Pittore (USA), Al Ackerman (UA), Fruit Basket Upset (USA), Arturo Fallico (USA), John Held, Jr. (USA), Private World (USA), Anne Sharp (USA), Mark Bloch (USA), Eric Findlay (England), et al.

Vol. 3, No. 3 (Spring 1985). Photocopy. 8 1/2"x5 1/2". (20 pages). Catalog for the "Newark Exhibition," a Mail Art exhibition in Frostburg, Maryland. Contributors list. A "Special Report," on the editors' Mail Art Tourism, with a stamp from H. R. Fricker (Switzerland) reading, "Dear mark Wamling, tourism is the expression of all the artistic activities and situations which develop when one artist is on the way to another and on the spot where they meet each other." The editor travels to New York city and meets with Carlo Pittore (USA), Steve Random (USA), Buster Cleveland (USA), Mark Bloch (USA), John P. Jacob (USA), et al. Listing of Mail Art publications. Mail Art exhibition and publication opportunities. 

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Newsletter. Guido Vermeulen, Editor. Brussels, Belgium. 1996-1998.

(May, 1996). Photocopy. 11 3/4"x8 1/4". (one page). A listing of six Mail Art exhibition and project opportunities.

(August 1996). Photocopy. 11 3/4"x8 1/4". (one page). A listing of four Mail Art project opportunities and a letter from José Vandenbroucke (Belgium), conveying a fragment of correspondence with Svjetlana Mimica (Croatia). "I know a university Prof. in pension who comes to the market after the noon to take leafs of salad from the floor! He can't buy food! That man has been my Prof.. on the university. So please, let it know to others how's life here!"

(September 1998). Photocopy. 11 3/4"x8 1/4". (2 pages). Mail Art exhibition and project opportunities. "Social Art," by Annina Van Sebrouck (Belgium) and Luc Fierens (Belgium). Since years Luc and Annina are defending with a generous obstinacy that mail art is social art.  I could add in a provocative mood that all art is social OR IS NOT!"

(November 1998). Photocopy. 11 3/4"x8 1/4". (10 pages). Editorial on Social Art. Listing of Mail Art project opportunities. In a section of "Solidarity with persecuted mail Art in Chile," the editor writes, "last year Clemente Padin of Uruguay proposed a very stimulating project to the net on 'Liberty, diversity and pluralism" in art. This project got the support of the academy of Fine Arts and the museum of Modern art (sic) in Chile who organized also the exhibition of the project in the University of Santiago. The project was backed by the whole of the mail art network (see enclosed list of participants) and by many refugees abroad...As a result of this controversial mail art show Humbeto Nilo, the director of the academy of the university, and 2 of his colleagues in the museum have been sacked by the authorities. Strangely enough this happens on a moment that the regime is asking clemency for the former dictator and butcher Pinochet in the name of 'national reconciliation.'" List of participants in the Chilean Mail Art exhibition, "Libertad Diversidad Pluralismo." List of correspondents who sent the editor mail in September 1998.

(May [1999]). Photocopy. 11 3/4"x8 1/4". 11 pages. "Introduction" by the Editor. "Is true that there is a large mail art community in Serbia and that many ties exist between networkers all over the globe. I refuse to make a separation or division. not only the people in Kosovo need our solidarity, also those in Serbia, Montenegro and all other countries in the region. People who are applauding the bombings of Yugoslavian cities make me sick! They would talk rather differently if the towns where they lived were the target of airstrikes on a daily base. This lack of perspective is amazing to me. So I back the anti war movement in mail art and in the streets of many countries. Listing of Mail Art project opportunities. Contributors to the editor's "Snake" project. 

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Newsletter about the Mail-Interview Project with updated information (sic).  Ruud Janssen, Editor. TAM Archive, Tilburg, Holland. 1997.

TAM-Publications 970166 (March 1987). Photocopy. 11 3/4"x8 1/4". 8 pages. "This newsletter I send out to participants in the MAIL-INTERVIEW project together with questions or other documents. Also it is meant for people who are interested in the project and want to know what it is all about." Details and publishing history of the project. Overview of a trip to the San Francisco Bay Area (for an exhibition at The Stamp Art Gallery) and the artists he met, who participate in the project including Mike Dyar (USA), Anna Banana (Canada), Robert Rocola (USA), Picasso Gaglione (USA), Patricia Tavenner (USA), Tim Mancusi (USA), Judith A. Hoffberg (USA) and Ashley Parker Owens (USA). 

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Newsletter for Participants and Other People Interested in the Mail-Interview Project. Ruud Janssen, Editor. TAM Publications, Tilburg, Holland. 1995-1997.

TAM-950077 (June 1995). Photocopy. 11 3/4"x8 1/4". (2 pages). "This newsletter is send (sic) out to participants in the MAIL-INTERVIEW project together with questions or other documents. Also it is meant for people who are interested in the project and want to know what it is all about...These newsletter are always updated with the most current data and therefore might look like previous issues." Four interviews published to date: Michael Leigh (England), Klaus Groh (Germany), Arto Posto (USA), Michael Lumb (England).

TAM-950090 (October 1995). Photocopy. 8 1/4"x5 3/4". (2 pages). "The MAIL-INTERVIEW project started in 1994 where I decided that I wanted to do some research about what the other mail-artists think it is all about. Because some mail-artists publish themselves a lot and others don't I took the initiative myself to start with interviewing people." "For the statistics some information: I invited 52 mail-artists so far and 39 reacted positively to the project. So far 9 interviews are finished."

TAM-950102 (December 1995). Photocopy. 11 3/4"x8 1/4". (3 pages). "Because the communication-forms used in mail-art are not only the traditional envelope, I decided to experiment also during this )long-time) project with several different forms. Some examples: The mail-interview with Klaus Groh was for a large part done by FAX. The mail-interview with Michael Leigh (A1) was mostly done by the traditional mail. The interview with Arto Posto was almost completely done by E-mail on the Internet (although we also exchanged the printed version besides that). The interview with Michael Lumb was mostly done by exchanging the diskette." Sixteen mail-interview published to date.

TAM-960106 (January 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. "For the statistics some information: I invited 60 mail-artists so far and 47 reacted positively to the project. So far 18 interviews are finished and 14 interviews are published."

TAM-960106 (January 1996). Photocopy. 11 3/4"x8 1/4". 4 pages. Variant copy of the above. "So far 17 interviews are finished and 13 interviews are published."  

TAM-960113 (February 1996). Photocopy. 11 3/4"x8 1/4". 4 pages. "Sometimes I get letters like 'I want all the interviews'. My response to such a request in mostly sending the order form with the latest details. Some interview-booklets aren't available anymore, so you can only order the complete text-print of the interview. Only for subscribers to future issues (or issues that are about to come out) I make the extended version. The other (text)booklets are made to send out into the network (sometimes randomly or to mail-friends of the interviewed person). So if you want all the interviews; the collection grows quickly, and you have to realize that this project is a costly one." "So far 20 interviews are finished and 15 interviews are published."

TAM-960118 (March 1996). Photocopy. 11 3/4"x8 1/4". 4 pages. "I invited 61 mail-artists so far and 49 reacted positively to the project. Till today 21 interviews are finished and 16 interviews are published."

TAM-960118 (March 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. Variant copy of the above. "I invited 61 mail-artists so far and 50 reacted positively to the project. Till today 21 interviews are finished and 17 interviews are published."

TAM-960122 (April 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. "In short, the mail-interview project is a series of mail art projects. Every interview is a single project and results in an interview booklet produced by TAM. The interviewed person gets two booklets for free, and also a booklet remains in the TAM-Archive." "I invited 64 mail-artists so far and 51 reacted positively to the project. Till today 23 interviews are finished and 17 interviews are published."

TAM-960127 (May 1996). Photocopy. 8 1/4"x5 3/4". 4 pages. "In October 1995 I started also with distributing the interviews via internet (first one was Dick Higgins's interview). The interview-text is transformed into an ASCII-file and send via e-mail to interested persons." "I invited 66 mail-artists so far and 52 reacted positively to the project. Till today 23 interviews are finished and 20 interviews are published."

TAM-960141 (July 1996). Photocopy. 8 1/4"x5 3/4". 5 pages. "I invited 68 mail-artists so far and 54 reacted positively to the project. Till today 28 interviews are finished and 23 interviews are published...Some interviews have been postponed due to time problems some mail artist sometimes have." Envelope by Jenny Soup (USA) on back cover.

TAM-960141 (July 1996). Photocopy. 11 3/4"x8 1/4". 6 pages. Variant of above with personal note from the editor.

TAM-960146 (August 1996). Photocopy. 8 1/4"x5 3/4". 6 pages. "I invited 70 mail-artists so far and 55 reacted positively to the project. till today 29 interviews are finished and 23 interviews are published." "The new HOMEPAGE from TAM I.U.O.M.A that got launched on June 11th 1996. it is still in the process of building, but eventually I hope to guide the online-people from there to the places where the interview can be read in WWW-format (as hypertext). The first 15 mail-interviews are on-line thanks to the help of Jas. W. Felter in Canada and soon all of them are there."

TAM-960155 (October 1996). Photocopy. 8 1/4"x5 3/4". 7 pages. "I invited 72 mail-artists so far and 58 reacted positively to the project. Till today 30 interviews are finished and 27 interviews are published." Envelopes by Andrej Tisma (Yugoslavia) reproduced on back cover.

TAM-960155 (October 1996). Photocopy. 8 1/4"x5 3/4". 7 pages. Variant of above. Envelopes from Günther Ruch (Switzerland) on back cover.

TAM-960155 (October 1996). Photocopy. 8 1/4"x5 3/4". 7 pages. Variant of above with envelope by Rudi Rubberoid reproduced on the inside back cover.

TAM-970158 (January 1997). Photocopy. 8 1/4"x5 3/4". 8 pages. Titled, "The Latest Newsletter About the Mail-Interview Project with Updated Information About This Long-Time Project." "I invited 73 mail-artists so far and 59 reacted positively to the project. Till today 32 interviews are finished and 28 interviews are published.

TAM-970166 (February 1997). Photocopy. 11 3/4"x8 1/4". 8 pages. "I invited 73 mail-artists so far and 59 reacted positively to the project. Till today 32 interviews are finished and 28 interviews are published." "...the complete set of interview are besides in the TAM-Archives (Nederlands) also available at the HeMi-Archive (Germany), Modern Realism Archive (USA), Administration Centre (Belgium), Spillkammeret (Denmark), Artpool (Hungary), EON Archives (Italy) and the JCM-the museum library (Canada).

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925. TT.O., Editor. Melbourne, Australia. (1981).

No. 10 ([1981]). Newsprint. 8 1/4"x5 1/4". (72 pages). Contributions by Australian Mail Artists Jas. H. Duke and Tane. Editorial comments on a censorship issue concerning Jas. H. Duke and a radio station.

No. 11 (June [1981]). Newsprint. 8 1/4"x5 1/4". (56 pages). Poetry magazine, featuring works by contributors listed by occupation. Includes the participation of Jas. H. Duke (Australia), Mail Artist and "Res. + Tech. Officer." 

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No Exit. Mike Amato, Editor. South Bend, Indiana. 1999.

Vol. 6, No. 1 (1999). Offset. 8 1/2"x5 1/2". 30 pages. "All of the art and poetry in this issue of "No Exit" was created by Gregory Fiorini." Includes a page of "Stamped Mailart."

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Nomo the Zine. Rudi Rubberoid, Editor. Bellingham, Washington. 1991-1995.

(June 1991). Photocopy. 8 1/2"x5 1/2". (15 pages). "Premier Issue" of this Mail Art zine, with a focus on rubber stamp art. Cover by Arto Posto (USA). Contributions by A. 1 Waste Paper Co. Ltd. (England), Al Ackerman (USA), Larry Angelo (USA), "Oncle" George (USA), Musicmaster (USA), Rea Nikonova (USSR), Any Salyer (USA), et al. "Nomo Speaks."

(August 1991). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (pages 18-31). Front cover by Any Salyer (USA). A. 1 Waste paper Co. Ltd. (England), Arturo Fallico (USA), Ruggero Maggi (Italy), Rea Nikonova (USSR), Michel Pollard (People's Republic of China), Mark Rose (USA), Carol Stetser (USA), Lon Spiegelman (USA), et al. Letters by "Oncle George" (USA), Musicmaster (USA), et al.

(October 1991). Photocopy. 8 1/2"x5 1/2". (pages 34-47). Cover by Arto Posto (USA). Contributions by Art Naphro (England), Lavona Sherarts (USA), Haddock (USA), Fran Rukovsky (USA), mark Rose, USA), Jessica Amanda Salmonson (aka Pag-hat the Rat-girl) (USA), Al Akerman (USA), et al. "Nomo Speaks." Letters to the Editor.

(November 1991). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (pages 50-64). Contributions by A.1 Waste paper Co. Ltd. (England), Al Ackerman (USA), Julie Bloch (USA), John Held, Jr. (USA), Bradley Lastname (USA), Musicmaster (USA), Michel Pollard (People's Republic of China), Joe Schwind (USA), E. Z. Smith (USA), et al.

(January 1992). Photocopy. 8 1/2"x5 1/2". (pages 66-95). Contributions by Al Ackerman (USA), Guido Bondioli (USA), John Held, Jr. (USA), Arturo Fallico (USA), Lotte Rosenkikde Jensen (Denmark), Musicmaster (USA), Farm Pulp (USA), Shmuel (USA), et al.

(April 1992). Photocopy. 8 1/2"x5 1/2". (pages 98-111). Contributions by Larry Angelo (USA), Henning Mittendorf (West Germany), Arto Posto (USA), Dr. Sureart (USA), et al.

(October 1992). Photocopy. 8 1/2"x5 1/2". (pages 114-127). Contributions by A. 1 Waste paper Co. Ltd. (England), Al Ackerman (USA), Eric Farnsworth (USA), Henning Mittendorf (West Germany), Art Naphro (England), Joe Schwind (USA), Allen Salyer (USA), Musicmaster (USA), et al.      

(February 1993). Photocopy. 8 1/2"x5 1/2". (pages 130-143). Contributions by Julie Bloch (USA), Ex-Posto-Facto (USA), O. Jason (England), Ruggero Maggi (Italy), Henning Mittendorf (West Germany), Art Nahpro (England), Micel Pollard (Indonesia),  Sikkameret (Denmark), et al.

(April 1993). Photocopy. 8 1/2"x5 1/2". (pages 146-159). Contributions by A. 1 Waste Paper Co. Ltd. (England), Al Ackerman (USA), Ruud Jansen (Holland), Henning Mittendorf (West Germany), Musicmaster (USA), Art Naphro (England), Joe Schwind (USA), et al. 

(June 1993). Photocopy. 8 1/2"x5 1/2". (pages 161-174). Contributions by Julie Hagan Bloch (USA), Peter Brandt (Germany), Arturo G. Fallico (USA), Ruud Janssen (USA), Michel Pollard (Indonesia), Arto Posto (USA), Fran Rutkovsky (USA), et al.

(October 1993). Photocopy. 8 1/2"x5 1/2". (pages 177-190). Contributions by A. 1 Waste Paper Co. Ltd. (England), Arturo G. Fallico (USA), Oncle George (USA), Ruggero Maggi (Italy), Art Nahpro (England), Pag-hat the Rat-girl (USA), Musicmaster (USA), et al.

February 1994). Photocopy. 8 1/2"x5 1/2". (pages 193-206). Cover by Al Ackerman (USA). Contributions by Peter Brandt (Germany), Ruud Janssen (Holland), Henning Mittendorf (Germany), A. 1 Waste Paper Co. Ltd. (England), Solar-Z (aka Barbara Solarz) (USA), et al.

(May 1994). Photocopy. 8 1/2"x5 1/2". (pages 209-222). Contributions by Lancillotto Bellini (Italy), Julie Hagan Bloch (USA), Peter Brandt (Germany), Stampmeister Kevin (USA), Musicmaster (USA), Pag-hat the Rat-girl (USA), Gerardo Yepiz (Mexico, Spilkammeret (Denmark), et al.

(August 1994). Photocopy. 8 1/2"x5 1/2". (16 pages ). "This is the first time I have put out an issue of "Nomo-the-Zine" dedicated entirely to one artist; every illustration in this issue was done by Fearless Freep (with the exception of the small book cover illo for "The Blaster Al Ackerman Omnibus'), some fifteen illustrations in all." "Publications Worthy of Note," including "The Blaster Al Ackerman Omnibus," and "The Vamp Stamp News."

(November 1994). Photocopy. 8 1/2"x5 1/2". (pages 240-253). Contributions by Keiichi Nakamura (Japan), Alice Borealis (USA), Haddock (USA), Musicmaster (USA), Simonson (USA), E. Z. Smith (USA), Kristin Thorrud (Sweden), et al.

(February 1995). Photocopy. 8 1/2"x5 1/2". (pages 256-269). Contributions by A.1 Waste Paper Co. Ltd. (USA), Afungusboy (USA), al Ackerman (USA), Michel Pollard (USA), Shmuel (USA), E. Z. Smith (USA), Gerardo Yepiz (Mexico), et al. "Zines of Worth."

(May 1995). Photocopy, Rubber Stamp and Mixed Media. 8 1/2"x5 1/2". (pages 272-297). Contributions by A. 1 Waste paper Co. Ltd. (England), Musicmaster (USA), Fran Rutkovsky (USA), Art Nahpro (England), Ruud Janssen (Holland), E. Z. Smith (USA), Ivan Preissler (Czech Republic), Citizen X (Canada), Adda Dada (USA), Fucci (USA), Crackerjack Kid (USA), et al.    

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Nostril. John E. (aka John Eberly), Editor. Wichita, Kansas. (1989).

([March 1989]). Photocopy. 8 1/2"x5 1/2". (4 pages). Cover by Al Ackerman (aka Harry Bates) (USA). Contributions by F. C. Jerkoffsky (aka Fran Cutrell Rutkovsky) (USA), Art Maggots (USA), Tuli Kupferberg (USA), et al. 

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NOVA. Charles J. Chickadel, Editor. Trinity Press, San Francisco, California. 1979.

No. 1 (1979). Offset. 11"x8 1/2". 4 pages. "What is Self-Publishing?," by the editor. Examples of the editor's self-published works, including the Mail Art magazine, "Quoz?," published from 1973-1975. Covers of all 12 issues reproduced.

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Novoid. Colin Hinz, Editor. ASFi Headquarters, Ontario, Canada. 1989-1991.

(December 1989). Hektograph. 11"x8 1/2". 39 pages. "Novoid is a little magazine. Some readers would call it a lit-rag. Some would call it an art-mag...None of these descriptions are accurate. consider it to be a combination of a personal journal, propaganda rag and networking tool." Article on "Art Strike, 1990-1993," elicits statements from Miekal And (USA), Michael Helsem (USA), Ruggero Maggi (Italy), Malok (USA), Jürgen Olbrich (Germany), and the editor, et al. Letters from Luke McGuff (USA), Bob Grumman (USA), et al. Other contributions by Serse Luigetti (Italy), Serge Segay (USSR), and Dale Speirs (Canada), et al. "Pre-Art Strike Issue."

No. 8 (April 1991). Mimeograph. 11"x8 1/2". 33 pages. "The Art Strike Issue." Texts by Al Ackerman (USA), "Freedom, Resistance, Rebellion and Art Strike," by Blaster Al Ackerman (USA) and Luke McGuff, "Survival Research Laboratories, Seattle, 23 June 1990." Letters by Rudi Rubberoid (USA), Al Ackerman (USA), John Marriott (Canada), Lloyd Dunn (USA), et al.

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Novy Zivot/New Life. Vitazoslav Hronec, Editor. Novi Sad, Yugoslavia. 1989.

Vol. 41, No. 12 (December 1989). Offset. 8"x5 1/2". 79 pages. "In this issue the journal "Novy Zivot" attempts to give new meaning to its name./ The phrase new life (novy zivot) today has a completely different meaning than it had forty years ago, when this magazine began publication./ Today we are irrevocably integrated into a global civilization which above all owes its universal character to improved means of transmitting information. In such a situation, the above-mentioned phrase can no longer have only this single, ideological dimension it should presumably reflect dimensions of civilization and culture...For this reason, we asked more than one hundred alternative artists from around the world to contribute, through their own works, to a better definition of this new world, this new life we are living at the close of the twentieth century." Andrej Tisma (Yugoslavia), Toward the New Art." Additional texts by Richard Kostelanetz (USA), Fernando Aguiar (Portugal), Andrzej Dudek-Dürer (Poland), Balint Szombathy (Yugoslavia), Géza Perneczky (Germany), et al. Contributions by Jiri Valoch (Czechoslovakia), Guillermo Deisler (East Germany), Pawel Petasz (Poland), Paulo Bruscky (Brazil), Vittore Baroni (Italy), Rea Nikonova (USSR), Guy Bleus (Belgium), William Gaglione (USA), et al.

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nu-art. (Rick Soloway, Editor). A Markin Art Club Publication, (San Francisco, California). (1976).

No. 1 ([1976]). Qwick-Print. 5 1/2"x4 1/4". 20 pages. A Bay Area Dada publication. Contributions by Carlo Giovanni Cicatelli (aka Charles Chickadel) (USA), Tim Mancusi (USA), Dadaland (aka William Gaglione) (USA), Monte Cazazza (USA), Anna Banana (USA), et al.

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Numero. Wilfred Nold, Editor. Frankfurt, West Germany. 1997-1999.

No. 1 (1997). Offset. 8 1/4"x5 3/4". 47 pages. "The most important reason for me to be doing this at all is my enthusiasm for MailArt. It opens up many opportunities and enables me to get in touch with more people than with any other medium. MailArt is a stimulating, communicative event where I can give most of my skills free rein. it is also one of the few real adventures left open to us nowadays: I am constantly surprised by what I find, and at the start of the journey I never know what is waiting for me at the end." Theo Breuer (Germany), "To Know Mail Art is to do Mail Art." Ruud Janssen (Holland), "The Communication-Forms in Networking." Henning Mittendorf (Germany), "Mail-Art: My Dream of Freedom and Love." Theo Breuer, "ABC-News #1." Guy Bleus (Belgium), "The Administration Centre." Mail Art exhibition, project and publication opportunities.

No. 2 (1997). Offset. 8 1/4"x5 3/4". 48 pages. "Some Aspects of Meta-Networking," by Henning Mittendorf (Germany). "Notes Toward a History of Artistamps," by John Held, Jr. (USA). "ABC-News #2," by Theo Breuer (Germany). "Mail Your Tomatoes! Mail Art Versus Electronic Art," by Frank K. Jensen (Denmark). "Some Thoughts About Mail Art-How Do I Experience Mail Art Nowaday?," by Ruud Janssen (USA), "Mail Art Painting of documenta Art Mile," by Peter and Angela Netmail (Germany). "Mail Art Projekte im Museum für Post und Kommunikation in Berlin-Schöneberg," by Lutz Wohlrab (Germany).

No. 3 (1998). Offset. 8 1/4"x5 3/4". 47 pages. Wilfred Nold (Germany), "Mail Art Without Mail Artists." Stephen Perkins (USA), "Artifacts of the Eternal Network, Part 1." Theo Breuer (Germany), "Assemblings." Ruud Janssen (Holland), " Some Thoughts About Mail Art." Georgine Margareta Witta Kiessling Smith Jensen (Denmark), "Diary of a Danish Housewife." "1998: A Year of Incongruous Meetings." Contributions by Pete Spence (Australia), Ryosuke Cohen (Japan), Henning Mittendorf (Germany), K. Frank Jensen (Denmark), et al. Mail Art exhibition, project and publication opportunities.

No. 4 (1998). Offset. 8 1/4"x5 3/4". 48 pages. Stephen Perkins (USA), "Artifacts of the Eternal Network: Part II." José Vandenbroucke (Belgium), "A Letter about the Continuous Death and Rebirth of the Mail Art Network." Guido Vermeulen (Belgium), "Notes on Notebooks." Henning Mittendorf (Germany), "Künstlerstempel." Theo Breuer (Germany), "My-Mail-Art-ABC-News." Guy Bleus (Belgium), "15 Copy-Art Evidences." Contributions by Dadaland (USA), Dmitri Bulatov (Russia), Emilio Morandi (Italy), Georgine Margareta Witta Kiessling Smith Jensen (Denmark), Giovanni Strada (Italy), Peter Netmail (Germany), et al. Mail Art exhibition, project and publication opportunities.

No. 5 (1999). Offset. 8 1/4"x5 3/4". 48 pages. "Before Punk and Zines: Bay Area Dada," by John Held, Jr. (USA). Trends in Mail Art," by K. Frank Jensen (Denmark). "Artistamps," by Henning Mittendorf (Germany). "The Magic of Visual Poetry," by Theo Breuer (Germany). "Mail Art: Just Looking at it-from the Outside," by Thomas Stemmer (Germany). "Russian Folk Noism," by Dmitry Bulatov (Russia). "The Snake Project," by Guido Vermeulen (Belgium). "Memories of Two Mail Art Postmen," by Peter and Angela Netmail (aka Peter Küstermann and Angela Pähler) (Germany). "letters to Guido Vermeulen," by Joel S. Cohen (USA) and Michael Lumb (England). Contributions by David Dellafiora (Australia), Eiichi Matsuhashi (Japan), Theo Breuer (Germany), Darco Vulic (Switzerland), et al. Mail Art exhibition, project and publication opportunities. 

No. 6 (1999). Offset. 8 1/4"x5 3/4". 64 pages. "Let us  be Pioneers of the New Millennium," by Henning Mittendorf (Germany). "Art is Communication and Communication is Art," by Bernard Zilling (Germany). "Sorry, but NUMERO 6 will be the Last Issue, The Money...!," by Michael Fox (Germany). "The Taller del Sol File-Museum," by César Reglero Campos (Spain), "The Gentle Art of Rubber Stamps," by Michael Leigh (England). "1999: The year of Fake Projects," by K. Frank Jensen (Denmark). "Response to John Held," by Anna Banana (Canada). "How I Became a Mail Artist," by Francesca Maniaci (Canada). "The Future of Mail Art, " by Peter and Angela Netmail (Germany). "Art and the Absence of Clothes," by La Peintre Nato (France). Contributions by Boog (USA), Ruggero Maggi (Italy), Lothar Trott (Switzerland), John M. Bennett (USA), Ryosuke Cohen (Japan), Dmitry Bulatov (Russia), et al. Mail Art exhibition, project and publication opportunities.

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NYCS (New York Correspondence School) Weekly Breeder. Tim Mancusi, Editor. San Francisco , California. 1972-1992

Vol. 2, No. 10 (May 20, 1972). Qwik Print. 11"x8 1/2". (2 pages). Issue number one. "Note to our Readers: With this issue of the "Weekly Breeder" we say goodbye to Stu Horn who has published the "W.B." in New Jersey for the past few months. Stu is leaving for Europe in Mid-May. This & future issues will be published by the Bay Area Dadaists (B.A.D.)." Contributions by Ray Johnson (USA), Bill Griffith (USA), Richard C. (USA), John Dowd (USA), and a.m. fine (USA).

Vol. 3, No. 2 (July 12, 1972). Qwik Print. 11"x8 1/2". (7 pages). Cut and paste collage.

Vol. 3, No. 3 (Christmas 1972). Qwik Print. 11"x8 1/2". (14 pages). "Ruby Reveals," ... all the Bay Area Dada gossip, by Ruby Begonia (USA). Contributions by Tim Mancusi (USA), John Dowd (USA), Ray Johnson (USA), Monte Cazazza (USA), John Dowd (USA), et al.

Vol. 3, No. 5 (May 20, 1953). Qwik Print. 11"x8 1/2". (15 pages). "Special 'Smoke Hash' Issue." Cut and paste collage, drawing heavily from newspapers.

Vol. 3, No. 6 (Fall 1993). Qwik Print. 11"x8 1/2". 34 pages. Contributions by Bill Griffith (USA), Arthur Cravan (aka Charles Chickadel) (USA), Steve Caravello (USA), Opal nations (USA), Jeff Berner (USA), David Mayor (England), John Dowd (USA), Anna Banana (USA), Brian Buczak (USA), Monte Cazazza (USA), Stu Horn (USA), Ray Johnson and Albert Fine (USA), Fletcher Copp (USA), Daddaland (USA), et al. 

Vol. 3, No. 7 (Autumn 1974). Qwik Print. 11"x8 1/2". 17 pages. "Most of the correspondence rookies who have been reading the Breeder for a year or two probably don't realize that Mr. Friedman (director of Fluxus West and international conceptualist) was the founder of the NYCS Weekly Breeder almost 3 years ago. Or that Stu Horn of the Northwest Mounted Valise was editor for three months before asking the Bay Area Daddaists to take over in May of 1972./ Yes, the Weekly Breeder has gone through many changes in those years and I must admit this current issue has nothing to do visually or editorially with what Ken Friedman's Breeders were about, or Stu Horn's. But I believe that Volume three represents the realization of the modern dadazine and was influential in inspiring the current 'zine scene' (to quote Marcel)." Contributions by Anna Banana (USA), Daddaland (USA), and the editor.

Vol. 3, No. 1-7 (1972-1981). Qwik Print. 11"x8 1/2". (100 pages). "THE WEEKLY BREEDER was originally published in 1971 by Ken Friedman as a xeroxed edition of images and information pertaining to Mail Art, and/or Fluxus West, etc./ In 1972 Ken asked Stu Horn to edit the Breeder and Stu's Breeder, naturally showed his Northwest Mounted Valise influence.  The Breeder at this point was making use more and more of collage./ Later that year, before Stu left for Europe, he asked myself to edit the Weekly Breeder which I did (along with Bill Gaglione) until Fall 1974 when The Very Last Weekly Breeder was published. Volume III consists of seven issues including Vol. IV, No. 1. It was during this period that The Weekly Breeder served as a model for the numerous other 'dadazines' that soon blossomed around the country, purveying a style of images as uniquely Bay Area as FILE was Canadian./ At least 2 issues of the Breeder were published in the late seventies by Buster Cleveland and Steve Caravello (of Mendodada fame). Steve also edited Vol. IV, No. 1, the Re-election issue./ In looking over these pages one should keep in mind that they predate today's 'punk' graphics by almost 10 years. and that collage, itself owes its existence to the early dadaists, who in the 1920's broke through the formal design and composition standards of their day."  

Vol. 4, No. 1 (July 20, 1972). Qwik Print. 11"x8 1/2". (2 pages). Issue number four, edited by Steve Caravello. Cut and paste collage by the editor.

Vol. 4, No. 1 (n.d.). Photocopy. 11"x8 1/2". (4 pages). "Volume IV brings back Breeder Friedman, the beloved Bruder of the other Breeders, to a new epicene glory as returned founder-editor of the magazine that FLASHART has nominated as the most interesting art magazine being published today."

Vol. 1, No. 1 (January 5, 1968). Color and Black & White Photocopy. 8 1/2"x5 1/2". (28 pages). Published in 1978, by Grover Keaton (aka Buster Cleveland) (USA). Assistant editors include Dadaland (aka Bill Gaglione (USA). Contributions by Jerry Dreva (USA), Cavellini (Italy), Ray Johnson (USA), John Evans (USA), E. F. Higgins (USA), Tim Mancusi (USA), Anna Banana (Canada), Pauline Smith (England), Vanzetti (aka Steve Caravello) (USA), Genesis P-Orridge (England), Peter Frank (USA), et al.

Vol. 5, No. 1 (May 20, 1992). Color and Black & White Photocopy. 11"x8 1/2". 37 pages. "A Brief History of the NYCS Weekly Breeder: (and a Mini-Editorial)," by Tim Mancusi. "Last January, after almost a decade of non-collaboration, my brother (Leodada Vinci) and I decided to visit William Gaglione and his wife, Darlene Domel, at their rubberstamp shop/gallery down in San Francisco. After reminiscing old times over dinner, I asked Bill if he wanted to put out a 20th anniversary issue this May. The commemorative issue you now hold in you hands is a result of that enthusiasm. Even though we've all gotten older and some of us have kids, I wanted this issue to help contrast the move conservative doldrums the past 12 years have brought about. The Weekly Breeder, Tao more than ever, should always be cutting-edge regardless of who edits it." Contributions by American artists Rick Soloway, Jeff Berner, Buster Cleveland, Stephen Caravello, Steve Hitchcock, Crackerjack Kid, Lon Spiegelman, John Evans, John Held, Jr., Nancy Frank, Judith Hoffberg, Bill Griffith, Darlene Domel, William Gaglione, Indian Ralph, Leodadda Vinci, Ray Johnson, William Burroughs, et al.

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