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

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INDEX

Salt Lick
Scarabeus
Scarborough Speaks
Scatter Balance: Underground Visual and Aural Arts
Schism
SCHMUCK Anthological
(S)crap
Score
Secret Life of Marcel DuChamp
Secert Love
Secret Thoughts About Mail Art
Semiautomatic
Sempervivum
Sensoria from Censorium
Serious Attentions
Shattered Wig Review
Shigeru Magazine
Shimbu
Shit Diary
Short Fuse
Shots: A Journal About the Art of Fine Photography
Shredding Teeth
Shredding Trout
Shushma: The official Secret Newsletter of the Shushma Legion
Sh'WIPE!
Sick Roof: A Journal of Humorous, Pathetic, and Serious Poetry
SIGN'zine: Cuadernos de Expresion Visual
Signal: International Review
Signs and Stones Magazine
Sin City
Sirqwork
Sivullinen Newsletter
Skinny Chest
Slowness of Being (Die Langsamkeit des Seins)
Slugfest
Slugnet Mailart Summary and Christmas Card List
S'Mail: global-NETWORK-zine
(Smile)
SMILE (Viareggio, Italy)
SMILE (Baltimore, MD)
SMILE (Berlin, Germany)
SMILE (Oakdale, IO)
SMILE (Madison, WI)
Smile (Berlin, West Germany)
SMILE (London, England)
SMILE (Dundee, Scotland)
Smile: Art-Magazin
SMILE (London, England) (ed. Mark Pawson)
SMILE (London, England) (ed. Simon Ford)
Snack
Snacks
Snail Mail Gets a New Shell: A Newsletter from the Dispatch of Signs and Stones
So Called
Socks, Dregs & Rockin' Chairs
Sol Cultural
Some Thoughts About Mail Art
Il Soppalco(The Balcony):Home Art Gallery
Sorriso Vertical, II
SoS Jazz
Source: Music of the Avant Garde
Spaziomostre Alternative
The Sphinx: A Journal of Inscrutability
Spiegelman's mailart rag
Square
STAMP
The Stamp Act
Stamp Art
Stamp Axe
Stamp World
Stampola
Stamps From/Collage of Stamps From
Stark Fist of Removal: The Newsletter of the Church of the SubGenius
Stars & Types: International Comics-Fanzine
State University of New York at Buffalo Reporter
Stirnnetz Mit Der Spinne
Stomp!
Strange Faeces
Stress: The First Italian Music & Life Free Newsletter
Stretch Marks: A Rubber-Stamp Art Zine
Strike/Strike
Stripper's Lament
Student Artist Call for Survival
Sty Zine
The Subliminal Zone Chronicles Comix
The Subtle Journal of Raw Coinage
Suite en Fin
Summer Rites
Sushi
Synthetica
Syzygy
Sztuka Fabryka News

 

Salt Lick - Sztuka Fabryka News

Salt Lick. James Haining, Editor. Salt Lick Press, Quincy, Illinois. 1980.

Vol. 3, Nos. 1&2 (1980). Offset and Mixed Media. 11"x8 1/4". 50 pages. Contributions by Al Ackerman (USA), Irene Dogmatic (USA), Frank Ferguson (USA), Rhoda Mappo (USA), Uncle Don Milliken (USA), Angelika Schmidt (West Germany), Rolf Staeck (East Germany), Tiptop (USA), Ed Varney (Canada), David Zack (USA), et al. List of "Presses & Magazines."

Vol. 3, Nos. 3&4 (1980). Offset. 11"x8 1/4". 46 pages. Illustrations by David Cole (USA). List of "Presses & Magazines."

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Scarabeus. Ladislav Guderna, Martin Guderna and Ed Varney, Editors. Vancouver, Canada. 1984.

No. 10 (1984). Offset. 8 1/2"x6 3/4". 34 pages. "This issue of 'Scarabeus' is devoted to Mail Art and Mail Art projects carried out by the editors...Mail Art continues to be an important and vital communication medium of the 80's because it is so necessary. Within a seemingly humble exterior, Mail Art embodies the actual realization of global communication and cooperation on a person to person basis. Mail Art is a concrete example of the spirit of mutual understanding thru communication which is the foundation of the dream of global peace and prosperity." Contributions by Byron Black (Japan), Henryk Bzdok (Poland), Mike Bidner (Canada), Shozo Shimamoto (Japan), Baik Kum-Nam (South Korea), G. A. Cavellini (Italy), D. B. Greenberger (USA), et al. "Eduouard Jaguer: Riviste D'Avanguardia e Mail-Art," by Enrico Baj (Italy). Letter from Edouard Jaquer (France). "Baj has unexpectedly associated my personal work (as well as that of PHASES) with the principle of mail-art."     

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Scarborough Speaks. Mike Duquette, Editor. Canadian Union of Postal Workers, Scarborough Local, Scarborough, Canada. 1986-1988.

(1986). Offset. 11"x8 1/2". 10 pages. Active Canadian Mail Artist Mike Duquette, was also a shop steward for his local postal union. In these newsletter to the membership he often contributed his own art, as well as fellow international Mail Artists. Cover by the editor. contribution by Clemente Padin (Uruguay). 

Vol. 7 (1988). Offset. 11"x8 1/2". 14 pages. "Free Trade and Postal Workers," by the editor. Artistamp contributed by the editor.

Vol. 9 (1988). Offset. 11"x8 1/2". 18  pages. Contributions by Colin Hinz (Canada), the editor, et al. 

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Scatter Balance: Underground Visual and Aural Arts. David Deco and Papa Tango, Editors. Los Angeles, California. 1990.

No. 2 (Spring 1990). Offset. 17"x11". (2 pages). "We interviewed Kalynn Campbell over some samples of his work while his girlfriend, Jenni (sic)  Soup, kept him in check. Kalynn is a Dadaist and performance artist whose illustrations grace the pages of the 'Realist' and 'Ben is Dead' magazines." Artistamps by Campbell (USA).

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Schism. Janet Janet (aka Stephen Perkins), Editor. San Francisco, California. (1988)-1989.

No. 17 (n.d.). Photocopy. 5 1/2"x4 1/4". (8 pages). Publication in support of Art Strike, 1990-1993. "Strike Out Before You're Stuck Out."

No. 21 ([1988]). Photocopy. 5 1/2"x4 1/4". (8 pages). On the cover-"Schism 1968-1988."

No. 24 (1989). Photocopy. 5 1/2"x4 1/4". (12 pages). "On January 1st, 1990, I will be suspending all activities in support of the ART STRIKE 1990-1993. this issue of Schism will be the last until 1993/If you feel the need for more copies of Schism #24 to get you through the 'years without art,' please send a SASE for a replacement. Data from the ART STRIKE FORM will be made available to the network of ART STRIKE ACTION COMMITTEES. Otherwise back copies of Schism will be available only in sets. These sets will include all Schisms published between 1985-89 (#11-24)." "Art Strike Form (Valid 1990-1993). Date...... Today I did Not: make art, exhibit art, sell art, buy art, think about art (put an x if you did)."

(n.d.). Photocopy. 5 1/2"x4 1/4". (12 pages). Conceptual work with crossed out words.

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SCHMUCK Anthological. Felipe Ehrenberg and David Mayor. Beau Geste Press, Surrey, England. 1975.

No. 6 (November 1975). Offset. 11 1/2"x8 1/4". (98 pages). "French Schmuck." In two parts, with the first part designed by Jean-Clarence Lambert, with works by Ben Vautier (France), Robert Filliou (France), Jean le Gac (France), Jochen Gerz (France), et al. "A. Nother part, put tougher by David Mayor, with much help from Marcel Alocco and Jochen Gerz." Includes a book by Ben Vautier, "Me Ben I Sign." Introduction by the two editors. Edition 550.

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(S)crap. Chris Winkler, Editor. Plutønium Press, Phoenix, Arizona. (1989).

No. 6 ([1989]). Photocopy and Mixed Media. 8 1/2"x5 1/2". 36 pages. "(S)crap is a biannual fragment of something written, printed, or heard." "...the death and dismemberment issue. how appropriate that this be the theme for the final issue in this format. Until further notice (S)crap will alternate between a cassette issue, and a contributor sponsored collective issue. " Contributions by john M. Bennett (USA), Harry Polkinhorn (USA), Jake Berry (USA), State of Being (USA), Kjell Nyman (Sweden), John R (aka John Rininger, USA), Mikel And (USA), Malok (USA), Mike Miskowski (USA), Ivan Sladek (Czechoslovakia), Serge Segay (USSR), Bill Shields (USA), Pete Spence (Australia), Stephen Perkins (USA), John Stickney (USA), John E. (aka John Eberly, USA). et al. 

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Score. (Crag Hill and B. Di Michele, Editors.) (Oakland, California). (n.d.).

No. 8 (n.d.). Offset and Rubber Stamps. 11"x8 1/2". (36 pages). Found poetry by Bern Porter (USA) and Jürgen Olbrich (West Germany). Additional contributions by Mark Melnicove (USA), Bob Grumman (USA), Klaus Groh (West Germany), Steve Perkins (USA), Lloyd Dunn (USA), Carlo Pittore (USA), et al.

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Secret Life of Marcel Duchamp, The. Pascal Lenoir, Editor. Grandfresnoy, France. 1991-1992.

No. 2 (January 1991). Photocopy. 8 1/4"x5 3/4". (10 pages). Contributions by Géza Perneczky (West Germany), Peter W. Kaufmann (Switzerland), Rudi Rubberoid (USA), Mark Mawtus (France), Antonio Sassu (Italy), Ruggero Maggi (Italy), Marcel Stüssi (Switzerland), et al. Edition 53/120.

No. 4 (January 1992). Photocopy. 8 1/4"x5 3/4". 8 pages. Contributions by Sara Andreini (Italy), Amadeu Escorcio, A.1. Waste Paper Co., Ltd. (England), Guillermo Deisler (East Germany), Peter W. Kaufmann (Switzerland), Gerard Barbot (USA), Ruth Howard (USA), Arte Ala Carte (USA), Pitor Piatek (Poland). Edition 62/130. 

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Secret Love. Craig Lyman, Editor. New York, New York. 1986-1987.

Vol. 1, No. 1 (Spring 1986). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (30 pages). Assembling magazine. Homoerotic theme. Contributions by Fruit Basket Upset (USA), John Held, Jr. (USA), National Neographic (USA), Private World (USA), et al. Edition 50.  

Vol. 1, No. 2 (Summer 1986). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (25 pages). Assembling magazine. Contributions by Fruit Basket Upset (USA), Private World (USA), Hokey Mokey (USA), et al. Edition 50.

Vol. 1, No. 3 (Winter 1986). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (36 pages). Assembling magazine. Twenty-one contributors including National Neographic (USA), Fruit Basket Upset (USA), Scott Hightower (USA), et al. Edition 50.

Vol. 1, No. 4 (Spring 1987). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (33 pages). Assembling magazine. Twenty-two contributors including Fruit Basket Upset (USA), National Neographic (aka Keith Glancy, USA), et al. Edition 50.

Vol. 2, No. 1 (Summer 1987). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (44 pages). Assembling magazine. Twenty-two contributors. Edition 50.

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Secret Thoughts About Mail Art. Ruud Janssen, Editor. TAM (Traveling Art Mail) Publications, Tilburg, Holland. 1997-1998.

Part 3 (December 11, 1997). Computer Print. 11 3/4"x8 1/4". 4 pages. "So far only few reactions on these 'secret thoughts' from the network. If someone even takes the trouble to read them, there aren't many reactions to them. But that is o.k. Somehow I am documenting my life quite well, but I am not sure what the purpose is of all that.  Lot of words go around the world on this internet...In principle these thoughts are online only. but maybe I might distribute some prints via snail-mail. You, as a reader, can do the same as well, and you are even encouraged to do so, or to publish these secrets. What more fun is there to do then publish secrets?"

Part 4 (December 1997). Computer Print. 11 3/4"x8 1/4". 2 pages. "This is the fourth and last list of thoughts that are supposed to be secret...Reproduction of this text is allowed provided that the text isn't changed, source is mentioned, and a copy of the magazine where the text is included in, is sent to TAM." Summary of letters received from Guy Bleus (Belgium), Günther Ruch (Switzerland), etc.

Part 8 (April 1998). Computer Print. 11 3/4"x8 1/4". 5 pages. Summary of mail and e-mail received from Dobrica Kamperelic (Yugoslavia), Charles François (Belgium), Jenny de Groot (Holland), Bruno Capatti (Italy), Joel Cohen (USA), Fluxlist (Internet) and Nancy Mandel (USA), who expresses interest in doing a story on the editor for "Rubberstampmadness." 

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Semiautomatic. Patrick Mullins, Editor. Chattanooga, Tennessee; Athens, Georgia 1994.

No. 2 (May 1994). Photocopy. 8 1/2"x7". (24 pages). "...I plan to attempt to construct a unified whole from whatever is available. I'm especially interested in collaged visuals and writing, concrete and visual poetry and writings on issues of culture, communication and language. Please spare me your dogma; I'm not interested in listening to anyone preach." Contributions by Luke McGuff (USA), Thom Metzger (USA), Schiz-Flux (USA), The Festival of Failure (USA), Paul Weinman (USA), et al. Reviews. Published in Chattanooga, Tennessee.

No. 4 (n.d.). Photocopy. 8 1/2"x5 1/2". (20 pages). Contributions by John M. Bennett (USA), Avelino de Araujo (Brazil). Spencer Selby (USA), et al. "Recommended Publications." Published in Athens, Georgia. 

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Sempervivum. (Dale Speirs, Editor). Society for Economic Epistemology, Calagry, Canada. 1998-2000.

Issue 7 (February 1998). Photocopy. 11"x8 1/2". (2 pages). Announcement of a Mail Art exhibition by Bruno Pollacci (Italy).

Issue 8 (April 1999). Photocopy. 11"x8 1/2". (2 pages). "Round Robin Art," by the editor. "A popular type of project in mail art is to send out a postcard, piece of paper, or whatever to a correspondent, and ask him/her to add art to it, then pass it on to someone else. Sometimes addresses are included so that the item can be returned to the originator when full, and copies then sent out to the participants. Sometimes the originator doesn't expect to get the item back, and is content to know that it is out there being exchanged." "Other People's Mail Art Projects." 

No. 9 (June 1999). Photocopy. 11"x8 1/2". 2 pages. "Mail Art Listings" of exhibition, project and publications opportunities.

No. 10 (July 1999). Photocopy. 11"x8 1/2". 2 pages. "Mail Art Listings." "Amateur Press Associations, by the editor. "Apas are a form of zine distro dating back to the late 1800s. Science fiction apas date back to the 1930s, and there are a large number formed in more recent years. There are individual variations in the procedures, but for most apas, you send in x number of copies of your zine to the Central Mailer or Official Editor. The C.M. then collates the zines into bundles and sends back a set to each member. You pay an annual fee to help cover the cost of postage."

No. 12 (September 1999). Photocopy. 11"x8 1/2". 2 pages. "Mail Art Listings." "Amateur Press Associations," by the editor. "...Or, you could organize your own amongst your papernet friends. mailart assemblings, where everyone sends in x copies of their work and gets back a collated set, are essentially a type of apa."

No. 13 (September 1999). Photocopy and Rubber Stamps. 11"x8 1/2". 2 pages. "World Wide Party #6" Contribution by Chuck Stake (aka Don Mabie, Canada), who sent in both a statement telling how he celebrated the event and a graphic.

No. 14 (November 1999). Photocopy. 11"x8 1/2". 2 pages. "Displaying Your Mail Art at Home," by Denise Petty. "Many people have favourite mail art that they like to take out and admire often. Such mail art is mounted on album pages or stored in boxes. Some collectors will frame sheets of artistamps or mail art and use them as wall decorations. The cost of frames can run into good money. It may be difficult to justify framing items in this manner, especially when the material is inexpensive. There is a easy way to display mail art that I have found, by using refrigerator magnets...." "Mail Art Listings."

No. 15 (January 2000). Photocopy and Rubber Stamps. 11"x8 1/2". 2 pages. "Mail Art Listings."

No. 16 (July 2000). Photocopy and Rubber Stamps. 11"x8 1/2". 2 pages. "Mail Art Listings."    

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Sensoria from Censorium. John Marriott, Editor. Mississauga, Canada. (1989).

([1989]). Photocopy. 11"x8 1/2". (72 pages). "SENSORIA FROM CENSORIUM has grown from realizations that I had while pondering some sketches that I had done for relief while at work as computer-input drone. These drawings were done as the need arose, on a desk-side pad. Doing them was my way of dealing with the brain-deadening circumstances. Hence the title, SENSORIA FROM CENSORIUM: in this case it means Expression in a time and place where it is forbidden-on company time. The gyst has a broad range of applications, and refers to art that arises inspite of restrictive situations, to art that is necessary for personal well-being, and to art that is a continual and vital part-of and response-to life." Graphics by the editor. Contributions by Jonathan Prince (USA), Stephen Perkins (USA), Linda Carpenter (Canada), et al. Art Strike. Cassette Culture. Photocopy art.  "For many similar reasons Photocopy Culture is akin to Cassette Culture, which is a breeding ground for unlimited creative and intellectual projects and exchanges. Photocopy Culture's fanzines, mail-art, news-letters, leaflets and posters operate on a level that is used by Cassette Culture. Independent artists make their works available by word of mouth, hand to hand in cultural circles, through local shops, alternative music programming on campus radio stations, via independent distributors using mail-order catalogues, and through the vital arteries of world-wide mail networking. It is through networking that local artists can engage in international communities of creative independents who operate outside of 'Official' culture."

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Serious Attentions. Svjetlana Mimica, Editor. Split, Croatia. 1992-1995.

(No. 1) (October 1992). Photocopy. 11 3/4"x8 1/4". (7 pages). "Enclosed you find a xerox-copy of the first magazine make by Svjetlana Mimica from Croatia. since mail from Croatia is difficult to send out I distribute these magazines on request by Svjetlana. Please forgive the bad copy quality. In WAR materials to make a good xerox is impossible." (Note from Ruud Janssen, Tilburg, Holland, October 14, 1992). "Serious Attentions' will appear quarterly, free for mail-artists, xeroxed in Croatia, legalized in IOUMA [International Union of Mail Artists, ed.] (Holland) as international mail-art magazine." poetry by the editor.  Contributions by Andrea Ovcinnicoff (Italy), Kimmo Framelius (Finland), G. Donaudi (Italy), Malok (USA), Mike Dyar (USA), John Held, Jr. (USA), et al.  

No. 2 (1993). Photocopy. 8 1/4"x5 3/4". 7 pages. Printed and distributed by Ruud Janssen (Holland) for the editor. Contributions by De Decker Geert (Belgium), Jim Klingbeil (USA), Ruud Janssen, et al. Mail Art exhibition, project and publication opportunities.

No. 3 (1993). Photocopy and Rubber Stamps. 8 1/4"x5 3/4". (6 pages). Printed and distributed by Ruud Janssen (Holland) for the editor. Contributions by Picasso Gaglione (USA), Simon Baudhuin (Belgium), JEM (aka Joy McManus, USA). Ruud Janssen, et al. Mail Art exhibition, project and publication opportunities.

No. 5 (October 1993). Photocopy. 8 1/4"x5 3/4". (12 pages). "Blinking Through: japan tour diary 1993," by John Held, Jr. (USA). Contributions by Zdenek Sima (Czech Republic), Peter and Angela Netmail (Germany), "Testimony of an Artist in War," by Andrej Tisma (Yugoslavia). Poetry by the editor. Mail Art exhibition, project and publication opportunities.

No. 8 (July 1994). Photocopy and Carbon Paper. 11 3/4"x8 1/4". (10 pages). Poetry by the editor. "Electronic Mail-Art," by Ruud Janssen (Holland). "Brain Cell," by Ryosuke Cohen (Japan). "First networking Congress in Uzbekistan."

(1995). Photocopy. 11 3/4"x8 1/4". (12 pages). Contributions by Le Peintre Nato (France), Mario Pejakovice (Croatia), José VDBroucke (Belgium), Igor Bartolech (Hungary), et al.

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Shattered Wig Review. (Robert Rupert Wondolowski, Editor.) Baltimore, Maryland. (1992).

No. 9 ([1992]). Photocopy. 8 1/2"x8 1/2". Literature and poetry review. Contributions by Al Ackerman (USA), John M. Bennett (USA), Blair Wilson (USA), Guy R. Beining (USA), Jake Berry (USA), et al.

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Shigeru Magazine. Shigeru Nakamura, Editor. Kyoto, Japan. 1985-1990.

(October 18, 1985-April 2 1986). Photocopy. 10"x7 1/4". (4 pages). Graphics by the editor. Text mostly in Japanese. Mail Art project announcement.

(June 1-August 15, 1986). Photocopy. 10"x7 1/4". (12 pages). Mail Art exhibition, project and publication opportunities, including the editor's "Autumn Copy" project.

(November 10, 1986-January 15, 1987). Photocopy and Rubber Stamp. 10"x7 1/4". (8 pages). Mail Art exhibition, project and publication opportunities, including the editor's "Sunrise '87" project. Stamped with an original eraser carving by the editor.    

(April  8, 1987). Photocopy. 10"x7 1/4". (8 pages). Mail Art exhibition, project and publication opportunities. "Conclusive Statement of the Italian Decentralized Mail Art Congress."

(August 15, 1987). Photocopy and rubber Stamp. 10"x7 1/4". (8 pages). Mail Art exhibition, project and publication opportunities. Stamped with an original eraser carving by the editor.

(January 1, 1988). Photocopy. 10"x7 1/4". (12 pages). Participant list for the editors Mail Art project, "Sunrise '86." Mail Art exhibition, project and publication opportunities. "Declaration of SHIGERU MAGAZINE: 'Information will gather where it will be sent.' Greetings to all mail art artists. I would like to interest all of you in sending me your works of art for publication in Shigeru magazine. This magazine was originated by me thanks to the support and advice of Mr. Luc Fierens, a Belgian friend of mine. All materials: letters to the editor, drawings, paintings and so on as (well as) mail art works will be collected and assembled at the Shigeru magazine. At present our magazine is in a process of development and I don't know what direction it will take but I can say this much, it will be one of the more unique magazines in its field. I would like to publish as many editions as possible. The first editions will be very small but as this publication gathers momentum, its size will continue to grow. We need your cooperation to make it grow. Your help will be Shigeru magazine's life blood. your letters, drawings and paintings for mail art will give Shigeru magazine its flesh and substance. I hope to make Shigeru magazine a publication we can all be proud of."

(April 2, 1988). Photocopy and Rubber Stamp. 10"x7 1/4". (16 pages). Contributions by Gerard Barbot (USA), Claudine Barbot (USA), Fernand Barbot (USA), Rea Nikonova (USSR), Klaus Groh (West Germany), Ruggero Maggi (Italy), et al. "Message from India: One Truth: One World: One Human Family," by Swami Nirmalananda (India). Mail Art exhibition, project and publication opportunities.

(August 15, 1988). Photocopy. 10"x7 1/4". (16 pages). "Mail Art Congress in Kyoto," with participants Gerard Barbot (USA), Ryosuike Cohen (Japan), Hiroko Midorikawa (Japan), and the editor. Contributions by Clemente Padin (Uruguay), El Olivare (Spain), Mauricio Silva (Brazil), Ruth Wolf-Rehfield (East Germany), Gerard Barbot (USA). et al. participant list for the editor's project, "Autumn Copy '86." "Mail Art exhibition, project and publication opportunities.

(January 15, 1989). Photocopy and Rubber Stamps. 10"x7 1/4". (16 pages). "Open Letter," by Luce Fierens (Belgium). "Japanese Diary," by John Held, Jr. (USA). Contributions by György Galantai (Hungary), Graciela G. Marx (Argentina), John Held, Jr., Gerard Barbot (USA). Mail Art exhibition, project and publication opportunities.

(January 1, 1990). Photocopy. 8 1/4"x5 3/4". (16 pages).  Editor Shigeru Nakamura changes his name to Shigeru Tamaru. Documentation for the editor's project, "Your Shadow." Participant list. Contributions reproduced for entries by Copy Left (aka Manfred Stirnemann, Switzerland), Giovanni Strada (Italy), Crag Hill (USA), Ruggero Maggi (Italy), Pat Fish (USA), Rea Nikonova and Serge Segay (USSR), Gerard Barbot (USA), FaGaGaGa (USA), Jun Kuramitsu (Japan), et al. "Mail Art Meeting in Zushi," with Japanese Mail Artists Kowa Kato, Kazuyoshi Takeishi, and the editor. ( Mail Art exhibition, project and publication opportunities.

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Shimbu. Bob Comings, Editor. Nada Farm Museum of Archetypes, Willits, California. (1984).

No. 1 (([1984]). Photocopy. 8 1/2"x5 1/2". (20 pages). "This issue has been dedicated to the Nothing Doing Mailart Show..." List of participants. Contributions reproduced for entries by Zona (USA), Victor Perez (USA), Minoy (USA), Arturo G. Fallico (USA), Gene Laughter (USA), Ruth Wolf Rehfield (East Germany), Robert Rehfield (East Germany), Buster Cleveland (USA), Al Ackerman (USA), Clemente Padin (Uruguay), et al.

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Shit Diary. Kerwin Ilamba, Editor. The Runaway Spoon Press, Port Charlotte, Florida. 1994.

No. 11 (May 1994). Photocopy and Rubber Stamp. 8 1/2"x5 1/2". (16 pages). "This issue is dedicated to Bob Grumman's poetic philosophy which is the only one I have come across that helps me better understand current forms of visual poetry, and other words which don't help here." Contributions by Bob Grumann (USA), Vittore Baroni (Italy), John M. Bennett (USA), Guy R. Beining (USA), et al.

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Short Fuse. Holden and Zero, Editors. Santa Barbara, California. 1994-1995.

No. 58 (1994). Photocopy. 17"x11". (3 pages). "Statement: put these sheets together this on top the others at bottom & display as a poster if you want. The form of the magazine is adaptable to the requirements of the pieces included." Contributions by Les Cammer (USA), Jake Berry (USA), John M. Bennett (USA), Guy R. Beining (USA), Mary Winters (USA), Zero (USA), et al. "A publication like this, using commonly available tools, is within your grasp to make. don't seek (t)o be legitimated by corporate capitalism, academia, or any other authoritarian system." 

No. 59 (1994). Photocopy. 17"x11". (3 pages). Contributions by Manwomen (Canada), Clemente Padin (Uruguay), John M. Bennett (USA), Paul Weinman (USA), Paulo Bruscky (Brazil), Blair Wilson (USA), Jake Berry (USA), et al.

No. 60 (1995). Photocopy. 17"x11". (3 pages). "(What is) International Networker Culture (Anyway)?," by John Held, Jr. (USA). contributions by Jake Berry (USA), Teresinka Pereira (Brazil), Paulo Bruscky (Brazil), Guy R. Beining (USA), et al.

No. 61 (1995). Photocopy. 17"x11". (3 pages). Contributions by Jake Berry (USA), Clemente Padin (Uruguay), Alice Borealis (USA), John M. Bennett (USA), Lucien Suel (France), Richard Kostelanetz (USA), et al.

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Shots: A Journal About the Art of Fine Photography. Daniel Price, Editor. Danville, Kentucky; Joseph, Oregon. 1989-1990.

No. 13 (January-February 1989). Newsprint. 12 1/4"x9 3/4" (oversize). 22 pages. "Mail Art," by John Held, Jr. (USA). "When I tell people that I am involved in mail art, I invariably hear reminiscences of decorated envelopes sent to a pen pal or loved one. I explain that mail art has a very specific twenty-five year history, and decorating envelopes does not automatically make a persona a mail artist...The difference lies in the fact that over a twenty-five year period an alternate art system has developed connecting an international group of artists via the postal system..." 

No. 14 (April 1989). Newsprint. 13"x10 1/2" (oversize). 38 pages. "Why is 'SHOTS' published? I'll try to explain. What you now hold in your hands is just the mere beginnings of what I hope will eventually become a vital communication link between all you photographers who at present are not inter-connected in any way whatsoever." Front and back covers features Mail Art by Robert Watts (USA), Kite Post (USA), John Held, Jr. (USA), A1 Waste Paper Co. (England), et al. Artistamps by the editor.

No. 17 (October 1989). Newsprint. 13"x10 1/4" (oversize). 46 pages. Back cover features rubber stamp collage with contribution by A1 Waste Paper Co. (England). 

No. 19 (January/February 1990). Newsprint. 10 1/4"x8 1/4". 48 pages. "Some Really Tiny Pictures!" issue. A zine of photography, stressing "fine photography," rather than "fine arts photography." Notice of a photography show by Mail Artist Roy Arenella (USA).

No. 20 (March/April 1990). Newsprint. 10 1/4"x8 1/4". 56 pages. "Girls, Girls, Girls" issue. Contributions by Ben Allen (North Ireland), Roy Arenella (USA), Sally Mann (USA), Sylvia Plachy (USA), Lavona Sherarts (USA), Benedict Tisa (USA), et al.

No. 21 (July 1990). Newsprint. 10 1/2"x8". 55 pages. "Landscapes" issue. Contributions by Benedict Tisa (USA), Roy Arenella (USA), Lavona Sherarts (USA), Bill Ritchey (USA), et al.

No. 22 (July/August 1990). Newsprint. 10 1/2"x8 1/2". 55 pages. "The Animal Pictures Issue." Ben Allen (North Ireland) contributes two pages of "Photobooth Portraits."

No. 24 ([1990]). Newsprint. 12"x93/4" (oversize). 95 pages. Contributions by Laura Poll (USA), buZ blurr (USA), Roy Arenella (USA), et al.

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Shredding Teeth. Daniel F. Bradley, Editor. Pangen Subway Ritual, Toronto, Canada. (1988).

No. 3 (July 1988). Photocopy and Rubber Stamp. 11"x8 1/2". (4 pages). "Circular," by Brian David Jo(h)nston.

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Shredding Trout. Daniel F. Bradley, Editor. Pangen Subway Ritual, Toronto, Canada. 1988.

No. 1 (July 1988). Photocopy and Rubber Stamps. 11"x8 1/2". (4 pages). Contributions by Mike Miskowski (USA) and G. M. Evason (Canada). 

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Shushma: The official Secret Newsletter of the Shushma Legion. (Al Ackerman, Editor). (San Antonio, Texas). (1985).

([September 1985]). Photocopy. 14"x8 1/2". (2 pages). Veiled references to Lon Spiegelman (USA), John M. Bennett (USA), David Zack (Mexico) and David Johnson (Ireland).

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Sh'WIPE! Greg Evason and Daniel F. Bradley, Editors. Wendysstomack, Toronto, Canada. 1987.

Issue F (December 13, 1987). Photocopy and Rubber Stamp. 5 1/2"x4 1/4". (4 pages). Sh'WIPE!...will appear once a week for a total of 26 weeks, until the final issue, April 30, 1988." contributions by John Eberly (USA), Greg Evason (Canada), Bill Shields (USA), et al.

Issue G (December 20, 1987). Photocopy and Rubber Stamp. 5 1/2"x4 1/4". (4 pages). Contributions attributed to Simonson, Hugh Williamson, and Leroy Gorman.    

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Sick Roof: A Journal of Humorous, Pathetic, and Serious Poetry. Mumbles (aka John Eberly), Editor. Wichita, Kansas. (1989).

No. 5 ([1989]). Photocopy. 8 1/2"x5 1/2". (4 pages). Contributions by John M. Bennett (USA), "Swarthy" Turk Sellers (aka Al Ackerman, USA). Mad Dog Shields (USA), the editor, et al.

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SIGN'zine: Cuadernos de Expresión Visual. Angela Serna, Editor. Industrias Mikuerpo, Madrid, Spain. (1996).

No. 6 ([1996]). Photocopy. 8 1/4"x5 3/4". (12 pages). Visual poetry. Contributions by Antonio Gomez (Spain), Pere Sousa (Spain). Vittore Baroni (Italy), Ana Ortega (Spain), et al.

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Signal: International Review. Miroljub Todorovic, Editor. Beograd, Yugoslavia. 1996-2000.
 
No. 10 (December 1995). Offset. 9 1/2"x6 1/2". 40 pages. Editor is the primary proponent of "Signalism," a Yugoslavian branch of Visual Poetry, and an active Mail Art participant since the early 70s. "Strategija Vizuelne Poezije: Tri Vida," by Dick Higgins (USA). "Kriticki Tekst," by Enzo Minarelli (Italy). "Mail-Art Kao Alternative," by Ricardo Cristobal. "Gumeni Pecati Teorija I Praksa," by Ulises Carrion (Holland). "Netvork Stvaralastveo," by Jaroslav Supek (Yugoslavia). "Misterije Planetarne Kulture," by Dobrica Kamperelic (Yugoslavia). Contributions by Timm Ulrichs (Germany), Nenad Bodganovic (Yugoslavia), Guillermo Deisler (Germany), Richard Kostelanetz (USA), Jean-Marc Rastorfer (Switzerland), Leonhard Frank Duch (Brazil), Sandor Gogolyak (Yugoslavia), Serge Segay (Russia), et al.  

No. 11-12 (1996). Offset. 9 1/2"x6 1/2". 68 pages. Essays by scholars and artists on "Signalism," including texts by
Dobrica Kamperelic (Yugoslavia), Klaus Peter Dencker (Germany), Bob Cobbing (England), John Held, Jr. (USA), and Pierre Restany (France). Contributions by Stephen Perkins (USA), Rod Summers (Holland), Karl Kempton (USA), Keiichi Nakamura (Japan), Michael Lumb (England), Emilio Morandi (Italy), Shigeru Tamaru (Japan), Pascal Lenoir (France), Mogens Otto Nielsen (Denmark), Julien Blaine (France), Ruud Janssen (Holland), et al. "Important Publications From and About the Network, 1984-1995," by Andrej Tisma (Yugoslavia). Reprint of the newspaper article, "After Quarter of a Century /The Second Life of the Signal." "List of Authors in Signal, 1970-1973."

No. 13-14 (1996). Offset. 9 1/2"x6 1/2". 72 pages. "Guillermo Deisler (1940-1995)." "Subkulturna Kosmopolitska Transkultura: Mejl Art i Muzika," by Michal Murin. "Vaznije Antogogije, Zbornici, Katalozi i Druge Publikacije Visuelne Poezije i Mejl Arta Koje se Nalaze u Signalistickom dokumentacionom Centru." "New Publications in Signalist Documentation Centre." "Signalism-Bibliography (1965-1996)." Contributions by Julien Blaine (France), Clemente Padin (Uruguay), Sarenco (Italy), Dimitri Bulatov (Russia), Miroslav Kliver (Czech Republic), Richard Kostelanetz (USA), Dobrica Kamperelic (Yugoslavia), Keiichi Nakamura (Japan), Guillermo Deisler (Germany), Shozo Shimamoto (Japan), Ed Varney (Canada), Annina van Sebroeck and Luc Fierens (Belgium), Lucien Suel (France), Ruggero Maggi (Italy), Vittore Baroni (USA), Daniel Daligand (France), Marcel Stüssi (Switzerland), Jiri Valoch (Czech Republic), et al.

No. 15-16-17 (1997). Offset. 9 1/2"x6 1/2". 76 pages. "Vizuelna Poezija," by Richard Kostelanetz (USA), "Poezija Kao Desavanje," by Miroslav Klivar (Czech Republic). "Zastitnik 'Umetnicke Gerile'," by Andrej Tisma (Yugoslavia). "Fragments from Reviews on Andrej Tisma's Art." "Important Publications from and About the Network in 1996," by Andrej Tisma. "Planetary Communication," by the editor. "Signalizam-Bibliografija." Contributions by Willi R. Melnikov (Russia), Pierre Garnier (France), Stephen Perkins (USA), Serse Luigetti (Italy), Paulo Bruscky (Brazil), Fernando Aguiar (Portugal), Opal L. Nations (USA), Ryosuke Cohen (Japan), et al.

No. 18 (1998). Offset. 9 1/2"x6 1/2". 74 pages. "Novi Krvotok Signalizma," by Andrej Tisma (Yugoslavia). "Signalizam i Istorija," by Géza Perneczky (Germany). "Signalizam: Ili Umetnost Kao Komunikacija," by Dobrica Kamperelic (Yugoslavia). "Signal (Jugoslavija) i Ovum 10 (Urugvaj) Secanja na Strast za Poezijom," by Clemente Padin (Uruguay). "Signalizam i Mail-Art," by Zvonko Saric (Yugoslavia). "New Publications in Signal(i)st Documentation Centre." Contributions by Serge Segay (Russia), Bob Cobbing (England), A. de Araujo (Brazil), Ruggero Maggi (Italy), John Held, Jr. (USA), Luce Fierens (Belgium), Whitson (USA), et al.

No. 19-20 ([1999]). Offset. 9 1/2"x6 1/2". 104 pages. "The Russian Neo-Avantgarde: Visual Poetry and Mail Art," by the editor. "The Practice of Impossible," by Dmitry Bulatov (Russia). "Web.Art's nature," by Andrej Tisma (Yugoslavia). "Der Horizont und die Roesie," by Klaus Groh (Germany). "Mail Art at Bluffton college," by Teresinka Pereira (USA). "Umetnost Prozimanja," by Andrej Tisma (Yugoslavia). Dick Higgins obituary from the 'New York Times'." "Important Publications from the Network (1996-1998)." "New Publications in Signalist documentation Centre." "Signalism-Bibliography: Supplement and Continuation." "Poets, Artists, Networker!," by the editor. "In the moment when I was preparing the new issue of The International review 'Signal' (19-20) my country was hit by bombs sent by NATO criminals...I have been writing poetry for fifty years, I have believed in man, I have believed in humanity. My vision of art was international, planetary art. now, after murdering bombardments conducted by aircrafts send from USA, Great Britain, France, Canada, Italy, Germany, Spain, Belgium, Holland and Turkey, I have to ask myself can I still believe in what I have believed." Letters from Clemente Padin (Uruguay), Marjorie Perloff (USA), Lawrence Upton (England), Daniel Daligand (France), et al. Special section of Russian visual poetry, with contributions by Serge Segay (Russia), Willi R. Melnikov Starquist (Russia), et al. contributions by Julien Blaine (France), Pete Spence (Australia), Klaus Groh (Germany), Kum-Nam Baik (South Korea), P. W. Kaufmann (Switzerland), César Figueiredo (Portugal), Spencer Selby (USA), et al.

No. 21 (2000). Offset. 9 1/2"x6 1/2". 104 pages. "Elektronska Umetnost i Internet," by Andrej Tisma (Yugoslavia). "Signalisticko Cedo U Obzorju Novog Milenijuma," by Dobrica Kamperelic (Yugoslavia). "Signal Art," by Jaroslav Supek (Yugoslavia). "Novi Signalisticki Izdanci," by Dobrica Kamperelic. "Miroljub Filipovic Filimir," by Dobrica Kamperelic. "Signalismus; Mehr als nur Ein-Ismus," by Klaus Groh (Germany). "Third Millenium Spirituality," a review by the editor of an exhibition by Andrej Tisma. "Edgardo Antonio Vigo: Aspiration to Freedom," by Clemente Padin (Uruguay). Jedinstvena Knjiga Eseja," by Dobrica Kamperelic. Signalism bibliography. Contributions by Dmitry Bulatov (Russia), Klaus Peter Dencker (Germany), David Cole (USA), Barry E. Pilcher (Ireland), Pete Spence (Australia), Julien Blaine (France), Daniel Daligand (France), David Alvey (USA), Picasso Gaglione (USA), Ruggero Maggi (Italy), Pascal Lenoir (France), et al.   

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Signs and Stones Magazine. Guido Vermeulen, Editor. Lingua & Littera Editions, Brussels, Belgium. (1995-1996).

([May 1995]). Photocopy and Mixed Media. 11 3/4"x8 1/4". 59 pages. Contributions by Robin Crozier (England), John Upton (England), Patricia Collins (England), Simon Baudhuin (Belgium), Silvia Barsi (Italy), Hartmut Andryczuk (Germany), Ivan Preissler (Czech Republic), Keiichi Nakamura (Japan), Marilyn Dammann (USA), et al. Includes an original collage by the editor. Edition 57/77.     

([August 1996]). Photocopy. 11 3/4"x8 1/4". 39 pages. "Based on the mail art project of Guido Vermeulen." Contributions by Marilyn Dammann (USA), Zebra Man (USA), Anne-Miek Bibbe (Holland), Clemente Padin (Uruguay), K. Frank Jensen (Denmark), Henning Mittendorf (Germany), Theo Breuer (Germany), Ruggero Maggi (Italy), Listsa Spathi (Germany), Bruno Sourdin (France), et al. Edition 19/77.

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Sin City. Tim Mancusi, Editor. A Gollinkambi Product, (San Francisco, California). 1972-1973.

(1972). Photocopy. 5 1/2"x4 1/4". (8 pages). Comix by Bay Area Dada artist and editor of the "New York Correspondence School Weekly Breeder."

No. 2 (1973). Photocopy. 5 1/2"x4 1/4". (8 pages). More filth by the editor of the "New York Correspondence School Weekly Breeder." Contribution by Chilly Billy Griffy (aka Bill Griffith, USA), creator of "Zippy the Pinhead."

No. 2 (1973). Photocopy. 11"x8 1/2". (2 pages). Unfolded copy of the above.

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Sirqwork. (Frank Ferguson), Editor. Billings, Montana. 1981.

(1981). Photocopy. 5"x3 3/4". (16 pages). Ronald Reagan de-collaged.

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Sivullinen Newsletter. Jouni Vääräkangas, Editor. Helsinki, Finland. 1995.

(Autumn 1995). 11 3/4"x8 1/4". (4 pages). "I'll print all news, 'classifieds' etc. you send me. If you want your ad/flyer printed, please send a copy of the item advertised." Notices for "Global Mail," et al.

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Skinny Chest. (Anonymous), Editor. South Pasadena, California. 1996. 

No. 2 (1996). Photocopy. 5 1/2"x4 1/4". 30 pages. "Please accept this, the latest offering from Skinny Chest: an irregularly published journal of reckless context devoted to nothing so much as threading together people for whom the world is a somewhat magical and curious place...SC No. 2 is loosely devoted to travel, movement, the various modes of transportation. Perhaps it is also an excuse to send things to Russia, Australia, Switzerland, Ohio; the mysterious thrill of mail." Twenty contributors including Patricia Collins (England), John M. Bennett (USA), W. Melnikov (Russia), Lucian Suel (France), Larry Tomoyasu (USA), Lothar Trott (Switzerland), et al.

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Slowness of Being (Die Langsamkeit des Seins). Gerd J. Wunderer, Editor. Augsburg, Germany. 1994.

(1994). Photocopy and Mixed Media. 5 3/4"x4 1/4". (88 pages). "Non commercial, independent, privat, free, international art magazin, privat culture exchange." Contributions by Clemente Padin (Uruguay), Crash (Italy), Henning Mittendorf (West Germany), Ilmar Kruusamae (Estonia), Serge Segay (Russia),  Simon Baudhuin (Belgium), et al.

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Slugfest, Ltd. Michael T. Nowak, Editor. Simpsonville, South Carolina. 1996.

Vol. 7, No. 1/2 (Summer/Autumn 1996). Photocopy. 11"x8 1/2". 73 pages. "...a quarterly journal of poetry, letters, satire, opinions, humor, conundrums, puzzles, paradoxes, oxymorons, scatology, philosophy, (meta)physics, politics, psychology, ideology-in short, we want to look at life from as many points of view, using as many voices as possible. We are a vehicle for the free expression outside the mainstream, keeping the barbarians of mass culture at bay. We look forward to active participation in our creation by you, our readers."

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Slugnet Mailart Summary and Christmas Card List. George W. Steed, Editor. Virtinia Beach, Virginia. 1989.

No. 2 (Early Summer 1989). Photocopy. 11"x8 1/2". (5 pages). "Some of these people I've found through other sources (most seem to have rubber stamping in common)." List of rubber stamp publications. List of 35 names and addresses with subjects they are interested in, illustrated by their graphics. Contributors include J. K. Post (USA), Dean Bandes (USA), F. von Schlafke (USA), Shmuel (USA), Dogfish (USA), E. Z. Smith (USA), Giovanni Strada (Italy), Sally Mericle (USA), Pascal Lenoir (France), Roz Stendahl (USA), Mr. Luce (aka Luc Fierens, Belgium), Antonio Gomez (Spain), Julie Hagan Bloch (USA), Diane Arseneau (West Germany), et al.

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S'Mail: global-NETWORK-zine. Jo Klaffki (Joki), Editor. Kunst-Bahnhausen-academy, Minden, Germany. 1993.

No. 1 (March 15, 1993). Color and Black & White Photocopy. 8 1/4"x5 3/4". (40 pages). "Besides the other regular zines, like 'Smile' (now out of print). 'Stars & Types, 'ON-mag,' we move on in exchange with our networking partners. Now the 'S'Mail-mag' will dedicate the 'artistamper's scene' in general. Since years there was given the necessity to reflect the international artistampers-background, from the sight out of the Kunst-Bahnhausen-academy. But besides lighten up the artistamp-subjekt, we will find room & time for having a look on special mailings." Special sections featuring the artistamp works of H. R. Fricker (Switzerland) and Vittore Baroni (Italy). Additional contributions by Cracker Jack Kid (USA), State of Being (USA), Gerard and Fernand Barbot (USA), David Cole (USA), John Held, Jr. (USA), Dominique Bugmaster (USA), Anna Banana (Canada), Jean Noel Laszlo (France), Dogfish (USA), Peter W. Kaufmann (Switzerland), Lon Spiegelman (USA), Marcello Diotallevi (Italy), E. F. Higgins (USA), Mr. Netmail (aka Peter Küstermann, Germany), et al.

No. 2 (August 1993). Color and Black & White Photocopy. 8 1/4"x5 3/4". (38 pages). Magazine focusing on artistamps. Artistamp news, including the upcoming Mars-Expo in Seattle, Washington, and an exhibition organized by Jean-Noel Laszlo (France), at the Musée de la Poste, Paris. Special sections on E. F. Higgins III (USA) and Marcello Diotallevi (Italy). Additional contributions by Gerard Barbot (USA), David Cole (USA), Fernand Barbot (USA), buZ blurr (USA), Crackerjack Kid (USA), Arturo G. Fallico (USA), Jas. W. Felter (Canada), Peter W. Kaufmann (Switzerland), Jean-Noel Laszlo (France), Emilio Morandi (Italy), Dogfish (USA), Dominique Bugpost (USA), Michael Lumb (England), Guy Bleus (Belgium), A1 Waste Paper (England), Ever Arts (Holland), Kingdom of Edelweiss (USA), et al. Artistamp publications, including works by Bugpost and Felter.

No. 3 (November 1993). Color and Black & White Photocopy. 8 1/4"x5 3/4". (42 pages). "There's no doubt, that "S'Mail" is becoming amore & more requested specialist literature for the artistamp interested people./This obviously was confirmed during the "MARS-EXPO '93.' which was held up in Seattle/USA in SEP 18. There, where I also had the chance being personally present, I have made fruitful exchange and experiences with many artistamper fellows. But sure, I also faced a bigger artistamp collectorship as usually proofed...Momentary we can observe many ex(c)iting global activities regarding the artistamp subject. But the information about moves slowly and not always straight on. therefore (s)traight on with the motto...zines are the voices of the ongoing network culture." "Perforation Patrol," in which the editor gives his impressions of attending "MARS-EXPO '93," which featured a special section on artistamps, with many producers present. Transcription of a radio program featuring Carl Chew (USA), talking about 'cinderella" philately. Special artistamp section on the works of Carl Chew. Contributions by Jas.. W. Felter (Canada), Ed Varney (Canada), buZ blurr (USA), Cracker Jack Kid (USA), Fernand Barbot (USA), Jeffrey Dixon (USA), Greg Byrd (USA), Beth Jacobson (USA), Arturo G. Fallico (USA), Mark Rose (USA), Sheba (USA), David Cole (USA), John Held, Jr. (USA), Kite Post (USA), 3 O'Clock Mail (aka Ex Posto Facto [Julie Jeffries], USA).  Peter W. Kaufmann (Switzerland), Giovanni Stada (Italy), A1 Waste Paper Company (England), Peter Brandt (Germany), Dogfish (USA), Art Naphro (England), Klaus Rupp (Germany), Sandor Gogolyk (Yugoslavia), Anna Banana (Canada), et al. "International News."

No. 4 (January 1994). Color and Black & White Photocopy. 8 1/4"x5 3/4". (44 pages). "I have no doubts, that 500 or even a full 1000 networkers occasionally produce their individual kind of artistamps, but 350 artistampers now really in action on the net-stages,...that sounds nearly unbelievable!" Special section on Anna Banana (Canada). Contributions by Ed Varney (Canada), Jas. W. Felter (Canada), C. T. Chew (USA), Pat Tavenner (USA), Greg Byrd (USA), Gerard Barbot (USA), John Held, Jr. (USA), buZ blurr (USA), Exoticia Post (aka Sheba, USA), Kite Post (USA), D. Bugmaster (USA), Crackerjack Kid (USA), H. R. Fricker (Switzerland), Emilio Morandi (Italy), Klaus Rupp (Germany), Peter Küstermann (Germany), et al.     

No. 5 (November 1994). Color and Black & White Photocopy. 8 1/4"x5 3/4". (40 pages). Special section on the artistamps of buZ blurr (aka Russell butler, USA), with an explanation of the techniques he uses in the production of his stamp work. Contributions by C. T. Chew (USA), Gerard, Fernand and Claudine Barbot (USA), Marcello Diotallevi (Italy), John Held, Jr. (USA), Jas. W. Felter (Canada), E. F. Higgins III (USA), Greg Byrd (USA), Sheba (USA), Anne Maybe (aka Ex Posto Facto, USA), Arte Ala Carte (USA), David Cole (USA), Alexsandor Jovanovic (Yugoslavia), Ruggero Maggi (Italy), Jean-Noel Laszlo (France), et al. Special section on unusually perforated stampsheets, with an original contribution by the editor included. 

No. 6 (August 1995). Color and Black and White Photocopy. 8 1/4"x5 3/4". (40 pages). "This S'Mail-mag No. 6 certainly should present a little memorial part concerning the remembrance of Ray Johnson, who unfortunately died in January of this year. Surely there (exists) many more stamplike designs dedicated to Ray, but I only took that, what I found in the mailstream of the last 6 month and which only may concern to the 'S'Mail-mag' subjekt." Ray Johnson artistamps by Marcello Diotallevi (Italy), Gerard and Fernand Barbot (USA), E. F. Higgins (USA), Santini del Prete (Italy), Michael Lumb (England), Anna Boschi (Italy), Greg Byrd (aka Toast Post, USA). Special section on Dogfish (aka Robert Rudine, USA). Additional contributions by Jas. Felter (Canada), H. R. Fricker (Switzerland), Crash (Italy), buZ blurr (aka Russell Butler, USA), C. T. Chew (USA), Klaus Rupp (Germany), E. A. Vigo (Argentina), et al.  

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(Smile). (Al Ackerman, Editor). (San Antonio, Texas.) (1985).

"INTERNATIONAL MAGAZINE OF MULTIPLE ORIGINS AND THE CONTEXT FOR THE NEGATION OF INDIVIDUALITY. Karen Eliot is the name chosen/invented by Karen Eliot to refer to an "individual" human being who can be anyone. Karen Eliot is a context not a person. The name is fixed the people using it aren't. Smile is the name that refers to an international magazine of multiple origins. The name is fixed the type of magazines using it aren't. The purpose of many different magazines and people using the same name is to create a situation for which no one in particular is responsible and to undermine capitalist notions of individuality, identity, and ultimately ownership, by showing that these concepts depend upon nominalism rather than a genuine material referent." (Stewart Home, England).

(July 1985). Photocopy. 14"x8 1/2". (4 pages). "Don't know if you receive Stewart Home's SMILE MAGAZINE? Here's a take off on Stewart's PHILOSOPHY OF THE WORK OF STREWART (sic) HOME that I did, plus page of SMILE LETTERS etc..." "September 84 San Antonio, Texas. Dear Stewart, or Monty if you prefer. Monty (or maybe he's calling himself Stewart Now?) I remember once in Portland Oregon he went around for several days calling himself Lionel and going toot toot but this turned out to be the botulism he'd contracted from Zack's clams casino surprise which surprised all of us who'd eaten it. I myself went around for several days thinking my hair had turned white overnight when in reality it had all fallen out. Ackerman." "SMILE LETTERS" reprinted from "SMILE" No. 7, edited by Stewart Home.

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SMILE . Vittore Baroni, Editor. Viareggio, Italy. 1985-1989.

(June 1985). Photocopy, Rubber Stamps, Stickers and Mixed Media. 8 1/4"x5 3/4". (8 pages). Assembling magazine. Special "SMILE/SNARL" issue published in conjunction with the "Nineth Neoist Festival" held at Artestudio, Pontenossa, Italy. June 1-6, 1985. Contributions by those attending including Ruggero Maggi (Italy), et al. Essay by the editor. "What is Neoism? Who cares about the sex of the angels? Each Neoist writes his own manifesto, adds symbols to the mithology (sic) of Monty Cantsin, publishes Smile magazines, draws maps of the promised land...A smile to everybody, a snarl if necessary."    

(October-December 1989). Photocopy and Mixed Media. 6"x4 1/4". 63 pages. "aka 'Arte Postale!' 61." List of participants who responded to the editor's call to contribute "covers" of "SMILE" magazine. Over 50 contributions reproduced, including works by Al Ackerman (USA), Henryk Bzdok (Poland), Karen Eliot/Pete Horobin (Scotland), Monty Cantsin/Graf Haufen (West Germany), Rea Nikonova and Serge Segay (USSR), Karen Eliot/Stewart Home (England), Pawel Petasz (Poland), Guy Bleus (Belgium), Robin Crozier (England), H. R. Fricker (Switzerland), Géza Perneczky (West Germany), Creative Thing (USA), Yoko Sato (England), Piermario Ciani (Italy), Guillermo Deisler (East Germany), Joki (aka Jo Klaffki, West Germany), et al. Listing of published "SMILE" magazines.

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SMILE. (John Berndt), Editor. (Baltimore, Maryland). (1986).

No. 3 ([1986]). Photocopy. 8 1/2"x5 1/2". (8 pages). "The Answer is the Destruction of the Question" on front cover. "Notes on the Pleasures of Neutrality." Notice of Art Strike. 

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SMILE.  Florian Cramer, Editor. Berlin, Germany; Amherst, Massachusetts; and The House of Seven by Nine Squares, Berlin, Germany. 1992-(1994).

(August 1992). Photocopy. 11"x8 1/2". (6 pages). Listing of books. "The bibliographical issue." Information taken from bibliography from insert in No. 100 (see below).

([October 1992]). Photocopy. 8 1/2"x5 1/2". (4 pages). "Presence and Space." Includes a detourned Andy Warhol (USA). 

([November 1992]). Photocopy. 11"x8 1/2". (74 pages). Neoist work published in Massachusetts. "Reading for Immortality: Toward an Interrogation of Nous, Neoism and Neoplatonism," by John Kennedy and Karen F. Eliot. Letters to/from Karen Eliot. "The Fake Is More," by Monty Cantsin. "Achieving what no one even three years ago, could foresee as the necessary resolution to the dialectical impasse posed by the object-form critical dilemma, Karen Eliot's pieces both assert and transcend objectness and formality; or, perhaps better stated, they represent a synthesis of the form and object into what might be called 'form-object' art." "A Fistful of Smile," by Karen Eliot.

([November 1992]). Photocopy. 11"x8 1/2". (2 pages). "Addendum to SMILE magazine. 'The Anatomy of Neoism'/Presence and Space'/'Rhetoric Is Pornography'." "Karen Eliot (to be delivered as a lecture at the Modern Language Association Convention, New York City, 27-30 December 1992)...We cannot do without the concept of the sign, for we cannot give up this cultural complicity without also giving up the critique we are directing against this complicity. (So our choice consists in conserving old concepts like this within the domain of our sporadic critique while here and there denouncing their limits.)"

No. 100 (March 1993)). Offset. 8 1/2"x5 1/2". 7 pages). "My Alphabet" on front cover. "This paper is intended to show how identity is constructed in Neoism by inscribing text into various institutional fields; to demonstrate how these texts and identities become unstable and ambiguous at the same time." Letters by Eliot Cantsin (USA) and Lieutenant Murnau (aka Vittore Baroni, Italy). Bibliography of "SMILE" magazines, which includes the present number with the description, "Text pages identical with those in SMILE 'Saturnalia'."

([1994]). Offset. 8 1/4"x5 3/4". (20 pages). Published in Germany. "The Elective Affinities," by the editor. Back cover has the "SMILE" logo, with text incorporated within it, reading, "calling a magazine...(SMILE)...can greatly increase its circulation."

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SMILE. (Lloyd Dunn), Editor. Oakdale, Iowa. (1990).

([1990]). Photocopy. 11"x8 1/2". (4 pages). Compilation of texts from various issues of 'SMILE" including those published by Mark Pawson (England) and Vittore Baroni (Italy).

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SMILE. Karen Eliot (aka Drake Scott, et al.), Editor. Schiz-Flux, Madison, Wisconsin. (1987-1993).

(No. 1) ([1987]). Photocopy. 11"x8 1/2". (16 pages). "Schiz-flux is newly formed. We wish to transform the whole of everyday life, and all social relations which are characterized by separation, alienation and non-participation under the reign of capital. We will begin by studying situationist and other currents such as neoism, PRAXIS, and post-structuralism. Then we plan to test the efficacy of these societal critiques thru action, psychogeographic expeditions, and the construction of 'situations'. Situations entail the freeing of various artistic techniques from a limited application in the theater, gallery, music hall, etc. to their application on the actual social field. The creative, transformative energy usually associated with art is combined with the project of revolution. This revolution is not spurred by duty of scientific socialism, but rather springs from the productive apparatus of the molecular unconscious. Our goal is to make possible self-realisation, communication and participation. This must occur thru purely non-spectacular means."

No. 2 ([1988]). Photocopy. 11"x8 1/2". (26 pages). "Festival of the Swamps," organized by Xexoxial Endarchy (aka Liz Was and Miekal And, USA). "Orientation for the Use of a Context and the Context for the Use of an Orientation." "Artists Strike." "If you like Smile and would like more people to Smile, you might consider becoming a Smile distributor. We will forward copies at our cost for bulk orders, plus tips for optimal salesmanship. Or better yet, put out your own Smile magazine and form your own group called Schiz-Flux comprised of de-individualed persons named Karen Eliot. Imagine the confusion when 50 magazines hit the streets-all named Smile. Start by plagiarizing this and other of your favorite revolutionary writings. Smile magazine is written and conceived by Karen Eliot."

No. 3 (Fall 1988). Photocopy. 11"x8 1/2". 23 pages. The "Snarl" issue. "Interview with Karen Eliot." Publication reviews. "Please submit articles, comics, graphics, on the crafty, skillful, shrewd, subversion of the system. Energizing and empowering action with makes one Hungary for more action. Tips for living as far outside of the system as possible. culture that is outside the dominant reality. needed are positive solutions to the problems of real living as well as 'low' technology solutions to solving people's basic needs: food, clothing, shelter, energy, transportation, defense and communication."

No. 4 (n.d.). Newsprint. 111/4"x8 3/4". 28 pages. The "Smirk" issue. "Post-leftist pleasure politics." "Feral Faun versus Karen Eliot: The Master(s) (de)bate." "Interview with Karen Eliot." "Society makes me sick. It is the web of domination that steals my life from me. It has created a situation in which my life is not my own, but is produced for me by forces beyond my control."

No. 5 ([1990]. Offset. 11"x8 1/2". 42 pages. The "Smut" issue. "Journal of Illicit Sex and Hardcore Exposure." "Art Strike? Strike an Artist!!" "Editor's note: We at SMUT magazine are pleased to bring you the most recent clandestine writing of prime Art Strike advocate Stewart Home who, unable to live up to his Art Strike rhetoric (thereby rebuttressing the rift between theory & practice that his PRAXIS movement was founded to destroy) now writes surreptitiously under the appropriated name of Drake Scott, SCHIZ-FLUX co-founder and PRAXIS dissident..."

No. 6 (n.d.). offset. 11"x8". 42 pages. The "Snicker" issue. "CONVERSant maniFESTATIONS: MANIMENTS & MOVIFESTOS." "No longer is the simplicity of choice between realism & abstraction but between an opaque surface of alternatives. & now more than ever, to create an artform that is not redundant requires infinite participation & person-to-person contact with the global infestation. While it will always be possible to be productive in a void, the possibility of continuous exchange thru the mail, in person & thru electronic media has served to reduce the poverty of spirit, which goes hand in hand with isolation." letter from D. C. (aka David Crowbar, USA), editor of "Popular Reality." "Fuck Dirge." by Malok (USA).

No. 7 ([1993]). Newsprint. 10 1/2"x8".58 pages. The "Squirts" issue. "Museum of Love Making," by Frank Moore (USA). "Becoming Schiz-Flux." "Schiz-flux is about movement-it is a movement-but it begins with an inhibition. Regardless of its source, this inhibition is the threshold where 'I'dentity is challenged and where the body encounters the confining cold steel of the socialized cage. Yo move across this prohibitory threshold is to enter onto and into the "Schiz-flux body of intensities."

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Smile. Graf Haufen, Editor. Artcore Editions, Berlin, West Germany. 1986.

Vol. 64 (May 31, 1986). Offset, Photocopy. 8 1/4"x5 3/4". 51 pages. Cover by Scott Helms (USA). "Neoism: Smile with Monty." "Some Neoist Addresses." "Mail Art Discussion," begins with an "Open Letter," by the editor to Larry D. Smith (USA). "To reduce Mail Art only to the artworks that are sent out by mail is to castrate Mail Art. Mail Art is a living underground culture and every contact with 'normal art' institutions is dangerous!" Others participating in the discussion include Enrico Oliva (Italy), Lancillotto Bellini (Italy), Peter Horobin (Scotland), and César Espinosa (Mexico). "Lettrism," with contributions by Kum Nam Baik (South Korea), Vittore Baroni (Italy), Guillermo Deisler (Bulgaria), César Espinosa (Mexico), S. Gustav Hägglund (USA), Scott Helmes (USA), Judy Kleinbery (USA), Harry Polkinhorn (USA), and the editor. "Mail Art Listings," of exhibition, project and publication opportunities. Edition 200.

Vol. 63 (September 6, 1986). Offset, Photocopy and Rubber Stamp.. 8 1/4"x5 3/4". "What is SMILE? - I know, you already heard this name. You perhaps read one or more magazines, flyers, fanzines with this positivistic name. SMILE is a multinational idea. A name to use for printed works with NEOIST contents!!...The SMILE magazine is published in many countries from various Monty Cantsins, of course it also covers different themes, aims, ideas. The idea behind this SMILE magazine is to spread information about all kinds of exciting, extreme, illuminating lifestyle, which also includes style of working in music, art, poetry, performance etc." "Neoism: Smile with Monty," excerpts from a letter by Karen Eliot (aka Stewart Home, England). "Neoistory," a letter by Istvan Kantor (aka Monty Cantsin, Canada). "Neoism grow out of mail-Art Activities. I met David Zack in Budapest in 1976, where he exhibited his mail-art archive at the Young Artists' Club, the first announcement of the Monty Cantsin open-pop star project was sent to mail artists in June 1978, form Portland, Oregon, USA by me and David well, (...) of course Neoism and Monty Cantsin became my life, that's the only way to understand the whole thing." "Mail Art Discussion," with reactions from the previous issue by Enrico Oliva (Italy), Ulli Kattenstroth (West Germany), Martin Krist (Austria), Tony Lowes (Ireland), Harry Polkinhorn (USA). "Statement of the Mail Art Congress 7/5/86 in Turin." "Photography." "Why Photography as a medium for an exposition? Well, my contacts in Mail-Art often use photography in a special way." contributions by Gerd Börner (West Germany), Andrzej Dudek-Dürer (Poland), Joseph W. Huber (East Germany), Manfred Martin (East Germany), Roland Owsnitzki (West Germany), Viktor Pavel (West Germany), and Giancarlo Toniutti (Italy). Artist statements by Toniutti, Dudek-Dürer, Martin and Pavel. "Interview with Monty Cantsin." Reviews in "Material: cassettes, records, fanzines, magazines, catalogues, multiples, actions, etc." "Mail Art Listings."      

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SMILE. Monty Cantsin (aka Stewart Home), Editor. London, England. (1984-1989).

([1984]). Photocopy. 8 1/4"x5 3/4". (16 pages). "Addresses" contains a listing of 19 Neoist cells. "The Generation Positive Presents an Examination of the Work of Stewart Home." "The generation positive Presents Total Anticopyright." "The Generation Positive Presents Great Triumphs of the Human Spirit." "The Generation Positive Presents Ultra-Art." "The Generation Positive Presents a List of Names." "The Second International Neoist manifesto f Post Positivist Revolt." "The Generation Positive Presents the Multiple Name Aesthetic." "The Generation Positive Presents Magazines Breeding Like Rabbits." Neoist poetry. "BAL TIM ORE," on back cover. Unattributed.

No. 7 ([1985]). Offset. 11 3/4"x8 1/4". (28 pages). "Neoism: Dance the Monty Cantsin," on front cover. Addresses for various "SMILE" and Neoist cells. "Blood, Bread and Beauty." Photographs of Monty Cantsins. ""Neoist Artifacts." "Correspondence Script," a gathering of correspondence from April 15, 1984 through November 24, 1984. "Malaise, History Memory," and "Neoist Poetry," School of Al Ackerman (USA).

No. 9 ([1986]). Offset. 11 3/4"x8 1/4". (20 pages). "Take Your Desires for Reality," on front cover. "International Magazine of Multiple Origins." Text with the following subheadings: "The Destruction of Meaning and the Meaning of Destruction; Beyond Chaos, Beyond Coherence; The Art of Ideology and the Ideology of Art; From Dada to Class War; Glamour; Down with Authority, Long Live Revolutionary Inspiration!; Empty Words; The Principles of Praxis; Notes on Context and Methodology ('We are not artists, politicos, or philosophers, but as we move towards the concrete refusal of creativity our activities, leading to future inactivity, cause us to engage in the discourses of art, politics, and philosophy.'); The Condition in Which Ideology Rematerializes Itself; From Author to Authority; The Anti-Essentialist; Networking ('Mail art, postal art, or correspondence art, as it is sometimes called is a system whereby a network  of 'individuals' [perhaps five or ten or even twenty thousand worldwide] exchange writing and visual images using the international postal system as the vehicle through which they operate this exchange. Of course no one 'individual manages to exchange with every other 'individual' in the network: but each 'postal artist' is aware that they are participating in a communications structure known as 'the international mail art network', and is open to exchanging writing and imagery with anyone else who participates, or wishes to participate, in the network...The 'Postal Artist' is typical of the while male under capital [although obviously there are black and female artists] and indeed has much in common with the 'revolutionary milieu' and activists of all kinds. All these people accept the capitalist demand that they 'justify' their existence through the 'accomplishment' of an endless series of 'tasks'. ..Of course our analysis may be incorrect but at least it can be put to the test. For the three years between 1990 and 1993 we will be abandoning all forms of creativity, activism, cultural intervention."); The Ecstasy of Alienation; Philosophy in the Bathroom; Second Manifestation of Praxis; A Report on the Conditions Surrounding Creativity; Advise from your Marxist Astologer." Also includes, "Anarchist," a work of fiction.

No. 10 ([1987]). Offset. 11 3/4"x8 1/4". (20 pages). "Sex Without Secretions," on the cover. Text with the following subheadings. "Desire in Ruins; The Refusal of Creativity; Artists' Placement and the End of Art; 6 of 666 From the Apocalypic Church of Bob; From Ruins in Art to Art in Ruins; Destruction in Art/Destruction of Art ('In his famous lecture to the Architectural Association, Gustav Metzger traced the origins of destruction in twentieth-century art back to Futurism and Dada. However Metzger's ideas were more extreme and broad ranging than even these historical precedents imply.'); Multiple Names (including 'History; Methodology; A Summary of the Results; An Incomplete Karen Eliot Curriculum Vitae); Overthrow the Human Race!!; The Avant-Garde of Presence; Third Manifesto of Praxis." Also includes, ""Pusher," and  "Straight," two works of fiction.

No. 11 ([1989]). Offset. 16 1/2"x 11 3/4" (oversize). (8 pages). "Plagiarism Special." "Demolish Serious Culture!" "We call on all cultural workers to put down their tools and cease to make, distribute, sell, exhibit, or discuss their work from January 1st 1990 to January 1st 1993. We call for all galleries, museums, agencies, 'alternative' spaces, periodicals, theatres, art schools &c, to cease all operations for the same period./ Art is conceptually defined by a self-perpetuating elite and marketed as an international commodity. Those cultural workers who struggle against the reigning society find their work either marginalised or else co-opted by the bourgeois art establishment..." "Karen Eliot." "Karen Eliot is a name which refers to an individual human being who can be anyone. The name is fixed, the people using it aren't. Smile is a name which refers to an international magazine with multiple origins. The name is fixed, the types of magazines using it aren't. The purpose of many different magazines and people using the same name is to create a situation for which no one n particular is responsible and to practically examine western philosophical notions of identity, individuality, originality, value and truth." "20 of the Most Difficult, Awkward & Searching Questions You could Ask About the Art Strike 1990-1993." "Confession in Support of the 1990-93 Art Strike." "Art and Class." "About the Situationist International and Its Historification." Gender, Sexuality & Control." "Deboredom," a review of "Lipstick Traces: A Secret History of the 20th Century," by Greil Marcus (USA). "Towards An Acognitive Culture," a conversation with Henry Flynt (USA) and Stewart Home (England). Schedule of events for the "Festival of Plagiarism," Transmission Gallery, Glasgow, Scotland, August 4-11, 1989.  

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SMILE. Pete Horobin, Editor. DATA, Dundee, Scotland. 1987.

(1987). Photocopy and Rubber Stamp. 11 3/4"x8 1/4". (16 pages). "OPEN LETTER To British Correspondence & Mail Artists," by the editor. "during a visit to robin crozier he expressed some concern about the future of his archived correspondence & mailart. a concern which i shared and one which i am sure we all share. for apart from the tate library there is no official private or state supported organised body equipped to handle or capable of protecting the outpourings of our generation. the tate dispite its healthy collection of modern art does not have a policy to  collecting mailart & correspondence art. even if we all bequeathed our collections it is doubtful that the tate would put enough resources into preserving & publishing the documents. i came away from sunderland chewing over this problem as an accompaniment to my vegetarian diet/after some days it struck me that between us we could organise our own british archive for correspondence & mailart./this would have obvious advantages over any other form of permanent preservation. as a separate independent museum it would be able to concentrate its resources upon archiving & publishing as well as cataloguing all the material of how the network functions./clearly the first thing to do is to be on the lookout for a suitable building of a reasonable price. once this has been found collectively we must raise the finances to make this dream come true. i will attempt to coordinate correspondence on this subject & enclose a list of all persons who have received this initial bulletin./i look forward to receiving your views & comments." Replies from (followed by comments from the editor) Eric Finlay (England), Michael Leigh and Hazel Jones (aka A1 Waste Paper Co. Ltd., England), Stewart Home (England), Mark Pawson (England). Tony Lowes (Ireland), DJ at FOMT (North Ireland), Ben Allen (North Ireland), Art Naphro (England), Barry Edgar Pilcher (Wales), Stefan Szczelkun (England), Robin Crozier (England). Replies vary from practical considerations to antagonistic (i.e. Tony Lowes: "It's the whole myth of achievement, the whole sappy, raw, super-star shuffle. I think now that in the attempt to establish a collective identity-the Cantsin to Smile routeen (sic)-the 15 minute super-star-the end result was not to debunk super-star identity-but to let us all have a piece of the action. Interesting, no?"). The editor ends with a reply to Robin Crozier: "As in many ways this whole episode began with you i feel that you should get the final word. In your quiet decisive way I think you are confident that your own large collection of exchanged works & collective projects will be taken on by a private or state administered body. Even if in the blackest of future prospects your entire volume of work was destroyed after your death you could rest contentedly in the satisfaction that you perhaps as much as anyone in this world have stimulated correspondence art & mailart activity among a great many people. That in itself is of monumental importance. i dont think at this stage that we are well enough organised as a group in britain to discuss practicably the institution of a national archive for correspondence art & mailart. however i would hope that those who are keeping collections look after them as best they can & spend as much time & resource upon archiving so that it becomes an integral part of the art process & to those who are intent upon casting it back into the river i ask that they do so in the most artistic & creative way imaginable to them. Through the production of this series of replies my own interest in the case rests. the cynicism & bitterness within the network is obvious; the contradictions within the polemic are blatant & the lack of organisational coherence within an art group of movement is once again manifested. I feel confident however that this argument will continue & sadly as usual in the british way-the gate will be firmly closed after the gleeful cuddy has bucked over the horizon."  

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Smile: Art-Magazin. Jo Klaffki (aka Joki Mail Art), Editor. Minden, Germany. (1984)-1992.

No. 1 (([1984]). Offset. 11 3/4"x8 1/4". (54 pages). "...our sincere thanks to an essential impulse that let to the publication of this magazine. Monty Cantsin-we have never met Monty Cantsin personally-, himself the editor of a SMILE magazine in England is mailing a chain letter round the world asking people to 'make your own magazines and call them SMILE'. Here you are, dear Monty." "Am Schönsten Ganz Lässig," an examination of the smile of Mona Lisa, with modified approaches by various artists including Timm Ulrichs (West Germany), Robin Page (Canada), Marcel Duchamp (France/USA), the editor, et al. Contributions by Bernd Löbach (West Germany). Klaus Groh (West Germany), Peter Küstermann (West Germany), et al. Edition 500.

No. 2 (April 1985). Offset. 11 3/4"x8 1/4". 54 pages. "The meanwhile somewhat increased second volume will, because of the world-wide interest in Mail Art, spread pleasure in more than 200 copies over 18 countries. A large part of it can be offered bilingual thanks to Peter Küstermann's speedy tongue...Finally as aside: we as an 'avantgardistic art magazine' have dedicated this volume almost entirely to Mail Art..." "Mail Art-The Fall of Man in the Limelight of the Arts," by the editor (English translation by Peter Küstermann). Participant list of 63 artists for the Mail Art exhibition, "Hoppla Kultur," curated by the editor. Participant list for the editor's Mail Art show, "Hommage á Liberty." "Minden has continually paid hommages to MailArt in exhibitions since 1979, and since 1982 we have listed 6 international show, not least thanks to Peter Küstermann's initiative, more are being prepared. It may not be exaggerated to regard Minden as a small 'Mail Art Mekka' within this worldwide movement." "Kunstarchäologie im Kosmopolitischen Urganismus: Ein Versuch über Mailart," by Ulli Kattenstroth (West Germany). "The Concept of Monty Cantsin," by Monty Cantsin (Baltimore, Maryland). Contributions by Robert Rehfield (East Germany), Guy Bleus (Belgium), Nenad Bogdanovic (Yugoslavia), Shozo Shimamoto (Japan), Giovanni Strada (Italy), Pierre Marquer (France), Arno Arts (Holland), Ryosuke Cohen (Japan), Daniel Daligand (France), Jürgen Olbrich (West Germany), Johan Van Geluwe (Belgium), Ruud Janssen (Holland), G. X. Jupitter-Larsen (Canada), et al. Mail Art exhibition, project and publication opportunities.  Edition 650.

No. 3 (December 1985). Color Offset. 11 3/4"x8 1/4". 52 pages. "With this third number, SMILE once again expresses its sympathy to that moving force which can be found among the branching rootwork of a strange tree. This impetuous plant 'Mail Art Movement' takes its nourishing juices from the network of hundreds of corresponding artists all over the globe. One may virtually call them the makers of this newly Art-Mag(azine), since they are considered to be the essential contributors. SMILE regards itself within this still young art movement as inspiring and coordinating foliage, part of that stout tree." Contributor list for the Mail Art exhibition," Internationale Künstler-Postmarken Expo" organized by the editor in September 1985. "International Postage Stamps," by the editor (translated into English by Peter Küstermann). "Mailart-Berlin," by Graf Haufen (West Germany). "Cavellini," by Peter Küstermann (West Germany). "Neoism," and "Beating a Dead Horse,"  by Vittore Baroni (Italy). "Festival," by Diagonale (France), proposes an international Neoism Festival. "Open Letter to the Neoist Network and the Public at Large," by Monty Cantsin (aka Stewart Home, England). Address list for various "SMILE" magazines and Neoist cells. Contributions by Dazar (USA), H. R. Fricker (Switzerland), Keith Bates (England), Rockola (USA), Gerard Barbot (USA), Art Nahpro (England), Marcello Diotallevi (Italy), Guy Schraenen (Belgium), Robert Rehfield (East Germany), Ruth Wolf-Rehfield (East Germany), David Jarvis (England), César Espinosa (Mexico), Shozo Shimamoto (Japan), et al. Mail Art exhibition, project and publication opportunities.

No. 4 (April 1986). Offset. 11 3/4"x8 1/4". 48 pages. "Art on the Move: Joki Visits Poland." "Art on the Move: Peter and Joki visit Berlin," by Peter Küstermann (West Germany). "Frieden-Freiheit," by Mona Catbird (aka, the editor). "Art Strike," by Box Smile (aka Stewart Home, England). Participant list for the Mail Art exhibition, "AKT '86," curated by the editor. Contributions by A. Dudek Dürer (Poland), P. Rogalski (Poland), Giovanni Strada (Italy), Peter Küstermann, Dobrica Kamperelic (Yugoslavia), Claudine, Fernand and Gerard Barbot (USA), Chuck Stake (Canada), Pat Fish (USA), Birger Jesch (East Germany), Steffen Jacob (East Germany), David Cole (USA), et al. "DIC im Mail-Art-Mekka Minden," a proposed Mail Art Congress in Minden, Germany, being organized by the editor and Peter Küstermann for September 1986. Mail Art exhibition, project and publication opportunities.

No. 5 (October 1986). Offset. 11 3/4"x8 1/4". 48 pages. "Even the old hands of the international mailart-scene were not successful to round off the definition of MAILART during the Minden-congress days. What's the reason for it? Is there too little or too much unsuitable literature about this artistical corresponding network? At present every art historian would surely wet himself because he has to go into this swamp to snoop around all the swampy flowers." "Supplementary thoughts of a congress in MAIL ART MEKKA MINDEN." Participants in the Minden session of the "Decentralized World-Wide Mail Art Congress," included H. R. Fricker (Switzerland), Peter Küstermann (West Germany), Guy Stuckens (Belgium), Jürgen Olbrich (West Germany), Chuck Stake (Canada), Andrzej Dudek-Dürer (Poland), Mogen Otto Nielsen (Denmark), Marcel Stüssi (Switzerland), Henning Mittendorf (West Germany), et al. Participant list for a Mail Art exhibition that accompanied the event. "Mail Art from the Museum-A Paradox Idea?" "First Family Fun and Games Los Angeles Mailart Congress," by Lon Spiegelman (USA). Contributions by John Held, Jr. (USA), Ruggero (Maggi (Italy), H. R. Fricker (Switzerland), AU (Japan), Chuck Stake (Canada), György Galantai (Hungary), et al. Mail Art exhibition, project and publication opportunities.

No. 6 (April 1987). Offset. 11 3/4"x8 1/4". 50 pages. "Smile Art," by Mona Catbird (aka Jo Klaffki). Contributions to the "Smile" project by Giovanni Fontana (Italy), Ruth Wolf-Rehfield (East Germany), Ruggero Maggi (Italy), State of Being (USA), Christian Laport (France), Pawel Petasz (Poland), Crag Hill (USA), Al Ackerman (USA), et al. Shozo Shimamoto (Japan) in Paris, France, with the editor, Klaus Groh (West Germany), H. R. Fricker (Switzerland), Jacques Massa (France), et al. Report of the editor's "Bunker Paintings, 1977-1987." "Labyrinthe: International Mail Art Show," Minden, Germany. Contributions by Matty Jankowski (USA), Achim Schnyder (West Germany), Birger Jesch (East Germany), Dazar (USA), Dobrica Kamperelic (Yugoslavia), Guy Bleus (Belgium), Vittorio Bacelli (Italy), Mogens Otto Nielsen (Denmark), Henning Mittendorf (West Germany), Robin Crozier (England), Mark Bloch (USA), et al. Mail Art exhibition, project and publication opportunities.                           

No. 7 (March 1988). Offset. 11 3/4"x8 1/4". 49 pages. "Mail Art Station Minden," by the editor. MAILART-STATION of the Minden days of culture in Sept. '87, which upper cultural bailiffs like to call 'KULTUR VOR ORT' (culture on the spot) may be worth some reflection from the participants' point of view. For the MA-Station I had forced a pathetic budget out of a benevolent squad of bureaucrats to bring together with almost a dozen of co-artists a fresh breeze into the cultural pomp intended by the country's patronage. My idea was to set up a so-called art-action-event as a global Zeitgeist stigma against the bourgeois comprehension of culture. For this it took only a tent-like station in and about which all the solo performances of the invited mailartists were to go off." Mailartists present for this event included Achim Schnyder (West Germany), Ruggero Maggi (Italy), H. R. Fricker (Switzerland), Andrjez Duduk-Dürer (Poland), et al. "Give Up Art-Do Sense," by Mona Catbird (aka the editor). Contributions to "Smile Art," by Vittore Baroni (Italy), Park Pawson (England), Micheal Leigh (England), Dazar (USA), et al. Review of "MA-Congress 86," by Günther Ruch (Switzerland). Participant list for the editor's project, "Freeing Intervention," with contributions reproduced depicting works by Jacques Massa (France), Kjell Nyman (Sweden), Tatomir (Yugoslavia), Mogen O. Nielsen (Denmark), Mike Duquette (Canada), Clemente Padin (Uruguay), Stephen Jacob (East Germany), Thomas Schulz (Poland), et al. "Gina for President," in which the editor recommends his pet pig for office. Mail Art exhibition, project and publication opportunities. Includes a poster, "Gina for President."

No. 8 ([1989]). Offset. 11 3/4"x8 1/4". 50 pages. "Gina for President," project draws contributions by Ruggero Maggi (Italy), Georg Lipinski (East Germany), Mike Duquette (Canada), Bruno Capatti (Italy), Tatomir Toroman (Yugoslavia), Shozo Shimamoto (Japan), A1 Waste Paper Co. (England), Pierre Marquer (France), Pat Fish (USA), Baudhuin Simon (Belgium), et al. "Mental-Bankers," project by the editor. "Smile" project contributions by Acosta Bentos (Uruguay), Art Strike Aktion Committee (California, USA), Friedrich Winnes (West Germany), Ivan Sladek (Hungary), Ryosuke Cohen (Japan), et al. "Hiroshima-Mail-Art-Project," a report from Japan. "Recycling-Mailart-Project in Potsdam, DDR." "Neoistic-Actionpainting Deco-Recycling." a performance by the editor in Minden, Germany. "Comics Guest Column," with contributions by A1 Waste Paper Co. (England), Mike Duquette (Canada), Mogen O. Nielsen (Denmark), et al. Mail Art exhibition, project and publication opportunities. 

No. 9 (January 1990). Photocopy. 11 3/4"x8 1/4". (20 pages). "Confessions of Aesthetic's Resistance," an editorial. "How refreshing the expression THIS IS NOT ART should appear, perhaps one could feel soon within the upcoming art-strike movement. Therefore this edition of SMILE is dedicated to this strike for art's sake, as like the proverb reminds: don't wait any longer, you must strike while the iron is hot!" "Peel or Bend Bananas: Smile About Serious Culture." by Mona Catbird (aka the editor). "This movement was called MAIL-ART like today, but the better name is networking. For the idea (only the idea, not the product) as art passed spreading through the network...But the real spirit of networking is the permanent anarchistic moving-power, which always will set subverted attacks  to the art-tradition or the hardening of culture software as well." Reprints of "Confession in Support of the 1990-1993 Art Strike," and "20 of the Most Difficult, Awkward & Searching Questions You Could Ask About the Art Strike 1990-1993." Ruud Janssen (Holland) confers the Presidency of the "International Union of Mail-Artists," on Gina the Pig. Contribution by Mike Duquette (Canada).

No. 10 ([1990]). Offset. 11 3/4"x8 1/4". 48 pages. Artistamp sheets by he editor. "Mental Bankers Report 1990," a history of the editor's project, with contributions by W. W. Neaumann (East Germany), John Held, Jr. (USA), Ruud Janssen (Holland), H. R. Fricker (Switzerland), Andrej Tisma (Yugoslavia), Dobrica Kamperelic (Yugoslavia), Guillermo Deisler (East Germany), Wermöwe (West Germany), et al. "Smile" contributions first published in "Smile" magazine edited by Vittore Baroni (Italy) include Creative Thing (USA), Lancillotto Bellini (Italy), Rocola (USA), Géza Perneczky (West Germany), Fran Rutkovsky (USA), Piermario Ciani (Italy). et al. "Metaphysical-Telephatic Poetry," by A. Dudek-Dürer (Poland). "International Networking News," includes Mail Art exhibition, project and publication opportunities. Special edition of "The Pig Times," with contributions by Rea Nikonova (Russia), E. Seifried (East Germany), Lucien Suel (France), Ruggero Maggi (Italy), et al. "Top Art Strike Networker on Stamps." "Statement Regarding the Art Strike 1990-1993," by Andrej Tisma (Yugoslavia).

No. 11 (April 1991). Color Offset. 11 3/4"x8 1/4". 50 pages. "Mahamat-Hall," by the editor. "the opening-day of Mahamat-hall happened in August 1990, when Shozo from Japan cut the string of the black curtain. Just more that 20,000 colorful works appeared within its last position , buried into the 1st mailart-memorial-center worldwide and named Mahamat-hall." "Artistamps," with contributions by Cracker Jack Kid (USA), Peter Kaufmann (Switzerland), H. R. Fricker (Switzerland), Joel Smith (USA), Gerard Barbot (USA), Anna Banana (Canada), Stephen Jacob (Germany), John Held, jr. (USA), Jas. Felter Canada), Fernand Barbot (USA), et al. "Olympic mental Games in 1`990-1991," a project by the editor with contributions by Ever Arts (Holland), Ruud Janssen (Holland), PLG Frieslander (Germany), Emilio Morandi  (Italy), Claudine Barbot (USA), Michael Leigh (England), O. Jason (England), Rea Nikonova (Russia),  et al.

No. 13 (March 1992). Color and Back & White Photocopy. 11 3/4"x8 1/4". (50 pages). "Smile Classified," exhibition at the V & A Museum, London, England. "But, what will happen with SMILE after this museal (sic) incorporation? Nothing! SMILE was one mag of multiple small-press-origins, also here in Germany. And in KUNST-BAHN-HAUSEN we won't deal with memorial mausoleum culture, even thou we've sold SMILE-issue for the V&A -display. (To) represent a living up mag-culture, we insist on inspiring exchange. And surely it'S a MAIL catching MET-A-SPIRIT around the world. It waS by MAIL too, what mediate all the informel works before und later on. S'MAIL will come then, also to transfer memorial songs for all the gone SMILEs..."Introduction," to the "Smile Classified," exhibition, by curator Simon Ford (England). "The original premises of 'Smile' can be traced back to the 1970s mail-Art magazine 'File' (the title is a play of 'Life' magazine), produced by the Canadian group General Idea, and 'Vile' magazine (a play on 'File'), produced by Anna Banana, in San Francisco. it was the Mail Art connection that gave the 'Smile' concept its initial impetus and the possibilities for its wider dissemination." "Network Culture," by the editor. "Cotemp-(92)-Netwerker-Congress." "Mental-Bankers-Project 1992" report with contributions by Giovanni Strada (Italy), Reneé Bouws (Holland), Luc Fierens (Belgium), David Cole (USA), Pascal Lenoir (France), Serge Segay (Russia), Societe Anonyme (Belgium), Vittore Baroni (Italy), Malok (USA), Heino Otto (Germany), et al.  "Net News from Elsewhere," includes  recent Mail Art publications. "Top Art Strike Networker on Stamps." "2nd International Artistamp Biennial," curated by the Pacific Northwest Artistamp Collective. Essay by Jas. Felter (Canada). List of participants. "Artistamps Memory," by the editor. Contributions by György Galantai (Hungary), Anna Banana (Canada), Lon Spiegelman (USA), Ed Varney (Canada), Joel Smith (USA), Ginny Lloyd (USA), Vittore Baroni (Italy), et al.

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SMILE. Monty Cantsin (aka Mark Pawson), Editor. London, England. 1986-(1989).

(1986). Photocopy. 11 3/4"x8 1/4". (8 pages). "SMILE Congress." Reports of "Decentralized World-Wide Mail Art Congresses," held at the Tate Gallery, London, July 30, 1986; at Community Copyart, North London, August 9, 1986; and at the Prince of Wales pub, Clapham, on September 10, 1986. Congress participants for the three Congresses included David Jarvis (England), Keith Bates (England), Ben Allen (Ireland), Harry Fox (England), Stefen Szczelkun (England), Niall Munro (England), Michael Leigh and Hazel Jones (aka A1 Waste Paper Co. Ltd., England), Peter Küstermann (West Germany), Chuck Stake (Canada), Mark Bloch (USA), et al. Signed and dated.

(November 1987). 11 3/4"x8 1/4". (10 pages). "Small Plastic Babies...I decided to ask my friends in the Mailart network to help me find them. At first I did this via personal letters, and later, in July 1986, I produced and circulated a project invitation..." List of contributors from 16 countries, and "what they sent...all measurements are height."  

([1988]). Photocopy. 8 1/4"x5 3/4". (12 pages). "Smile History Lesson." Consists of reproductions of front covers of various books dealing with Mail Art (Jean-Marc Poinsot, "Mail Art: Communicaton a Distance Concept;" Hervé Fischer, "Art et Communication Marginale;" Anna Banana, "About Vile;" Crane/Stofflet, "Correspondence Art;" Vittore Baroni, "Mail Art Handbook;" Chuck Welch, "Networking Currents;" John Held, Jr., "International Artist Cooperation: Mail Art Shows, 1970-1985;" Graf Haufen, "Neoism Now;" H. R. Fricker, "Mail Art is Not Fine Art It's the Artist Who is Fine;" Günther Ruch, "MA-Congres 86;" Stewart Home, "The Assault on Culture."), followed by the question, "Is your name in this book? YES/NO."

([1989]). Photocopy. 8 1/4"x5 3/4". (8 pages). "Editorial: O.K. Kids, this issue of SMILE takes the form of a list of all SMILES published to date, which somebody actually asked for, surely not realising its length/extent. A conventional Family Tree proved impossible, and the published list is inevitably incomplete, and still contains m/stakes. It is specifically designed to be of limited use, (Anti-Anal-Archivist-Device), many of the SMILEs listed were published in small editions, and are totally unavailable, for others, possibly still available, the author/editors addresses are not given so that even if you wanted to get back issues (and honestly, who'd bother??) you can't. I guess that the solution is, as ever, to publish you own SMILE." "Blood of the Neoist." Invitation to a "SMILE" project by Vittore Baroni (Italy).     

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SMILE Classified. Simon Ford, Editor. National Art Library, Victoria & Albert Museum, London, England. 1992.

(March 1992). Offset. 8 1/4"x5 3/4". 8 pages. "This booklet was produced to accompany a display entitled, 'SMILE: A Magazine of Multiple Origins,' at the National Art Library, Victoria & Albert Museum, from 20 March to 10 August 1992." Introduction by the editor. "International Magazine of Multiple Origins," lists 93  issues of "SMILE" published in the United States, Canada, Europe, the United Kingdom and Australia. "As stated above about 25 'Smile' magazines  belong to the museum and can be studied more closely after the display has finished and the items catalogued. The cataloguing will be treacherous. 'Smile' is a librarian's nightmare. The given conventions of publishing and librarianship e.g. attributable authors, titles, International Standard Book Number (ISBN), sequential numbering, regularity, consistent titles, etc., are often occluded or purposely falsified. The 'Smile History Lesson' ('Anti-anal-Archivist-Devise') by Monty Cantsin is a monumental effort only made possible by the author's intimate knowledge of the subject; those unacquainted are on a hiding to nothing (you can hear Karen Eliot laughing now)." 

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Snack. Billski, Editor. Seattle, Washington. (1984).

([1984]). Color and Black & White Photocopy. 8 1/2"x7". (48 pages). Color photocopy cover. Contribution by Patrick T. (USA) on back cover. "A Day in the Life," by John Bennett (USA). Publication reviews including "Eat It Up," and "Tropical Trouser Snake." Edition 34/100.         

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Snacks. Pas de Chance, Editor. Toronto, Canada. 1994-1995.

No. 319 (September 16, 1994). Photocopy, Rubber Stamps and Mixed Media. (52 pages). "Every copy of this book is different. Copy No. 1 was published in August 1993. This copy is No. 319, published on Sep 16 1994." Contributors send in notices for lost animals. Contributions by 80 participants including Julee Peaslee (USA), Ashley Parker Owens (USA), John M. Bennett (USA), Clemente Padin (Uruguay), Mike Dyar (USA), David Dellafiora (England), Klaus Groh (Germany), Donald P. Milliken (USA), Julie Atomic (aka Julie Shapiro, USA), Reed Altemus (USA), Anna Banana (Canada), Mark Pawson (England), Reverend Randall Tin-Ear (USA), et al.

No. 468 (February 11, 1995). Photocopy, Rubber Stamps and Mixed Media. (56 pages). "Every copy of this book is different. Copy  No. 1 was published in August 1993. this copy is No. 468, published on Feb 11 1995." Contributions by Igor Bartolech (Yugoslavia), M. B. Corbett (USA), Antonio Gomez (Spain), Helena Perkins (USA), Baudhuin Simon (Belgium), Jokie X. Wison (USA), Jan DeSirey (USA), et al.

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Snail Mail Gets a New Shell: A Newsletter from the Dispatch of Signs & Stones. Guido Vermeulen, Editor. Brussels, Belgium. (2001).

([2001]). Computer Print. 11 3/4"x8 1/4". (2 pages). Mail Art exhibition, project and publication opportunities.

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So Called. Sonja van der Burg, Editor. The Hague, Holland. 1986.

No. 2 (July 1986). Photocopy. 5 3/4"x4 1/4". (16 pages). Theme: Dadafilters. "OK you rainbow-warriors, mail-art fighters and other heroes...here we are again, worshipping the postal services that binds us together." Musings on the "Decentralized World-Wide Mail Art Congress," with mentions of Mark Bloch (USA) and Harry Fox (USA), who have traveled to Europe to attend various sessions. List of 18 contributors to the issue including Vittore Baroni (Italy), Robin Crozier (England), Luc Fierens (Belgium), Charles Françoise (Belgium), Fruit Basket Upset (USA), Martin  Krist (Austria), Pascal Lenoir (France), Achim Schnyder (West Germany), et al.  

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Socks, Dregs & Rockin' Chairs. Geof Huth, Editor. Schenectady, New York. 1989.

No. 2 (1989). Photocopy. 8 1/2"x5 1/2". (8 pages). Comix art. Contributions by John E. (USA), Bob Grumman (USA), the editor, et al.

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Sol Cultural. César Reglero Campos, Editor. Taller Del Sol, Coma-Ruga, Spain. (1995-1996).

([1995]). Offset and Mixed Media. 16 1/2"x6" (oversize). Pages numbered 37-76. Contributions by Spanish Mail Art group Taller  Del Sol, Ibirico (Spain), Clemente Padin (Uruguay), Ruggero Maggi (Italy), et al. Mail Art exhibition, project and publication opportunities.  

([1996]). Photocopy. 11 3/4"x8 1/4". (25 pages). "Declaracion De No-Principles de 'Sol Cultural'." Mail Art and visual poetry in loose pages. Contributions by Gerardo Yepiz (Mexico), Dave Zucker (Spain), Clemente Padin (Uruguay), Ashley Parker Owens (aka "Global Mail"), et al. Mail Art exhibition, project and publication opportunities. 

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Some Thoughts About Mail Art. Ruud Janssen, Editor. TAM-Publications, Tilburg, Holland. 1993-1997.

No. 93003 (December 1993). Computer Print, Rubber Stamp and Sticker. 8 1/4"x4". (6 pages). Headings for "To Know Mail-Art...?" (Seven statements, including, "The only people who 'really' know what Mail-Art is all about, are the ones that practice it. I tried several times to explain to others what mail-art is all about, but they never really understood it. Sure, they know that it has to do with mail and art, but there is more to Mail-Art then just sending out a decorated envelope to somebody else."); "To Feel Mail-Art." (Seven statements including, "Another thing that always come sup in my mind when I think of mail-art is, that I have the feeling I am not alone on this world. Lots of people have the same 'drive' as I have. They are searching for new things in their lives. They are facing the problems they are encountering. and problems are not really problems when you can share them with friends."); To Explain Mail-Art." (Three statements including, "The one who reads this collection of statements probably knows already about mail-art. But still I can't explain mail-art just like that. Even talking 'face-to-face' with a mail-artist, I know that I am still looking for the unfound words to explain this strange communication-form."); "Can You Stop with Mail-Art? (Four statements including, "Even when a mail-artist dies, it really doesn't stop. the rest will talk and write about him/her. There is only no reply to these words unless family and/or friends take over."). "P.. This collection of statements will constantly change because mail-art is also constantly changing as is my own life and views about things."

Part 2 (March 1995). Computer Print and Rubber Stamps. 11 3/4"x8 1/4". 4 pages. "Why Write About Mail-Art?" (Eight statements, including "A reason for me to write about mail art is because I like to document things. Not only to document numbers, sounds, dates and facts. I also like to document my thoughts. the way you put things into words explains sometimes more than you imagine..."). What is Mail Art? (Three statements). "Will Mail Art Ever End?" (Three statements including, "some think that Internet and E-mail will gradually make the 'snail-'mail obsolete. But I don't think it will ever happen. The 3D-pieces just have to be transported..."). "What is the Difference Between mail Art and Art?" (Five statements including, ""Mail art is a direct communication between individuals. no galleries, no museums, no shop you can buy it in. mail art is exchange only. so to get mail art you will have to send it out."). "Mail Art Archives." ("Sometimes the problem of archiving things is just too difficult. it absorbs too much space and energy to deal with that. Recycling is a way of keeping the energy in the network. As archive is just static and will collect dust. Eventually everything will end up as garbage or in a museum. the dump(y)ard is just another museum with different visitors. in a world of classes someone is always judging what is good or bad. in mail art all energy is equal. it just depends on the sender and receiver.").

Part 3 (September 1995). Computer Print. 8 1/4"x5 3/4". 4 pages. "Mail Art is a Personal Experience." (Three statements including, "Because I am now already 15 years active with mail art I thought it would be interesting to tell about some nice experiences I had in mail art. just write them down before I forget about them.") "Nice Things to Send by Mail." (Four statements). "Nice Things to Receive by Mail." (three statements). "Controversial Things to Send by Mail." (Three statements concerning,  chain-letters. simple Xeroxes, requests). "Nice to Meet Mail Artists." (Four statements including, "I had all sorts of meetings. I visited the mail-art congresses in 1986, the tourism year initiated by H. R. Fricker and Günther Rüch. The most interesting meeting was at the Media in Belgium, where over 30 mail artists came together. Also the congresses in 1992 were a historic time, it became the year where I had the largest amount of travels ever in my life so far."). "Isolation in Mail Art?" (Four statements including, "There are also whole large parts of our world where there is no networker connected to mail art. In Africa I know only a few mail artists, and I know they aren't able to send out much mail."). 

Part 4 (November 1995). Computer Print. 11 3/4'x8 1/4". 5 pages. "This text mainly focusses (sic) on the Internet. And some see it as the next step after the mail art network. Since I work in both networks now I am writing these thoughts for both groups explaining my views about the whole." What is the Internet? (Three statements). "Do You Have to Join Internet?" (Five statements). "Problems of Getting on Internet." (Three statements). "Problems of Being on Internet." (Six statements). "More Info About Internet." (Three statements). "Reactions to this text are welcome. Also reactions in E-mail are welcome. This still is a concept-version of the text. When it is adjusted my views probably have changed/evolved again). A project I started in 1990 is collecting all kinds of statements about mail art. Not only to publish a book or so, but to document things, to make statements of people all over the world accessible for others that are interested in it too. This is the fourth selection of thoughts on mail art I publish. If you haven't read the first three or the other mentioned publications, then just send me something nice when you ask me for this and you'll surely get those texts too. Don't send me just a postcard with the line: 'send me info' because that isn't how the mail art network works. Exchange of energy is what it is all about." Boxed section, "for your eyes only," with handwritten note.    

Part 5 (January 1996). Computer Print and Rubber Stamps. 11 3/4"x8 1/4".  5 pages. "This fifth article deals with all the mail I get and send out, and where it eventually end up..." "Answering all the Mail I Get." (Five statements). "Where Does All the Mail I Get Go To?" (Five statements including, "Some pieces of mail are directly archived. The contributions for the TAM Rubberstamp Archive go on a special pile which is registered in my computer-list. Actually the address-list of this archive forms the backbone of my address-list for contacting people in netland. Books and catalogues of projects, magazines, etc. they go on the pile 'literature' which I mostly read quite soon, and then it goes to the 'library' section of my archive..."). "Where Does all the E-Mail I Get Go To?" (Three statements). "The TAM-Archive." (Five statements including, "A very special part of my collection is the books, magazines and catalogues part. I know my collection isn't that big when compared to collections from Géza Perneczky, Guy Bleus, John Held Jr., to name a few, who have all documented their collections with publications. but is still is my specific collection. I believe that every mail artist (networker) builds up his own collection and that this forms his/her idea of what the mail art network is all about...").

Part 6 (February 1996). Computer Print and Rubber Stamp. 11 3/4'x8 1/4". 5 pages. "What is an Assembling Magazine?" (Seven statements including, "In the mail art network most publications are made by a single person or just a small group of people. They get their information/art from the network and send their findings & thoughts about that again into the network. In a 'normal' magazine the editor arranges the text and/or visuals and decides what to include in the magazine. Mostly we talk about a ZINE because there is no official institute that published the magazine. It is all part of the large 'underground' movement, where there are no fixed rules. (2) In an assembling magazine (or zine) we have a rather different concept. The organizer/editor invites mail artists to send in a number (N) of original works. this number (N) mostly determin(e)s the edition-size. Once the editor decides he/she is ready (enough contributions, or the deadline has passed) he/she will make N identical zines and will send a copy to every participant."). "Did I Participate in Assembling Zines?" (three statements). "Do I Like Assembling Zines?" (Two statements including, "The quality of some assembling zines is quite good, but some are real(l)y not that interesting for me. I am just being honest here. I put more value to a single original piece of work I sometimes get, than to the 'mass-produced' hand-made edition of, lets say, 120 originals. In the last five year I also started to make more originals, and decided not to send that much xeroxes out anymore."). "Negative Aspects of Assembling magazines." (Four statements including, "Because some networkers want to have all the assembling zines that are out there, they send in the amount of required works to any editor. The quality comes secondly, and if a large part of the assembling zine is filled like that, this triggers others to do the same."). "Positive Sides to Assembling Magazines."  (Three statements including, "Some see the collection of assembling zines as a nice thing to do. If you like collecting, it sure gives you a nice overview of the different styles and techniques that are used in the network. Some earlier assembling zines are already collected by archives. That happens when an artist gets noticed by institutes. But art-dealers sometimes want to get their money back, and sell assembling zines where 'big names' appear in. I('m) not sure what to think of that.").

Part 8 (April 1996). Computer Print and Rubber Stamp. 11 3/4"x8 1/4". 5 pages. "This 8th article deals partly with the publishing of all the texts at TAM-Publications & the problem of mail art & money." "What is Tam-Publications?" (Seven statements including, "All texts that I produce and print get a number. Because I don't use the official institutes to print my publications, I sometimes use the term ISSM (opposed) to the regular ISSN numbers that the 'real' printing-houses use."). "Money and Mail Art?" (Eleven statements including, "But do mail art & money mix? Every mail artists I know is only spending money on this mail art. I have never met someone that is making a profit on the mail art. That is, the active mail artists. Of course it is possible to sell mail art. Some people oppose to this, others just do it to get rid of 'their collections'. There are examples of 'archives' that have been sold. Normally then the collection gets destroyed because the buyer mostly is looking for mail from artists know(n) in the 'traditional art-world.' I heard from Crackerjack Kid that some early Ray Johnson letters are being offered for big money."

Part 9 (May 1996). Computer Print. 11 3/4"x8 1/4". 3 pages. "This 9th article is especially written for the Mail-Art project 'Future Communication' organised at the Denmark's Post Headquarters in Copenhagen-Denmark, August 1996...It is not the first time that the postal office is arranging a mailart exhibition. I have been and/or participated in similar exhibition in The Hague (Netherlands), Paris (France), Bern (Switzerland), Brussels (Belgium). It seems that the postal services here in Europe are getting very much interested in this mail art thing."

Part 10 (May 1996). Computer Print. 11 3/4"x8 1/4". 6 pages. "This 10th article actually is a collection of older statements I sent into the network of colored papers...Older Mail-Art Statements from Ruud Janssen. Over the years I have written several short statements. This list contains most of them as far as I could find them back. The date I wrote the statement is also mentioned. On 22/05/1994 I started with putting all the statements I once wrote into one big file. I printed them out on colored paper now and then and scattered them into the network. End of 1995 my old computer broke down and I lost a big part of this compute-file. Now I decided to print the whole list of statements as they were scattered together with the date the statement was written." "DATE: 02/04/1985. Once you know about mail-art, your life changes. Well, anyway, it did mine. Mail-art is more than art; it is a way of living your life."   

Part 11 (June 1996). Computer Print. 11 3/4"x8 1/4". 3 pages. "This 11th article deals with the current status of the Mail Art network, but also with a bit of history that came before it." "Older Networkers." (Six statements, including, "Sometimes the mail artists are d(i)vided up into generations. The 'first generation'; Ray Johnson who started in the NYCS with a selective group he chose to write to and asked them to play the game with him. Of course there is also the 'zero generation.' Artists that already used the mail system for communication, art & play (Marcel Duchamp, Van Gogh maybe?) where individual artists were in contact with other artists through the mail in a creative way on a one-to-one basis. the 'second generation' in the 60's-70's when FLUXUS joined up and a selective group experimented with the mail system, the 'third generation' where mail art rapidly grew in 70's-80's because of the exhibitions and publications within the mail art network that spread the news to newcomers (this is where I joined the mail art network for the first time, and lots of the people I am still in contact with nowadays are from this 3rd generation). Not a limited group anymore but the concept that anybody could take part and be a member of the mail art network really took shape. this lead to the congress-year in 1986, where anybody could organize a congress, as long as two or more mail artists had a meeting at a certain place. The 'fourth generation,' after the congress in 1986..., where the mail art population grew into a very large group...the end of the 80's and the beginning 90's was also the gradual beginning of the 'fifth generation,' where communication was done with the use of computers. Mark Bloch (USA), Charles François (Belgium) and me (in Holland) already were working with BBs's to send out electronic mail..." "New Networkers." (Four statements). "Computer Networkers." (Five statements including, "But between computer-networking and mail-art networking there is a difference. The communication on the internet has little to do with mail art. One can discuss mail art, publish visuals and articles on web-sites, but the mail art is when the postal system is used. so e-mail could be seen as mail, but the getting of data from a server I see more as going to a library. It is not communication as seen in the way communication is defined."

Part 12 (June 1996). Computer Print. 11 3/4"x8 1/4". 3 pages. "This 11th article deals with the post Ray Johnson Mail School of Correspondence...On June 1st, I receive(d) a yellow postcard from José van den Broucke in Belgium of this POST RAY JOHNSON BIKE MAIL SCHOOL OF CORRESPONDENCE. He sent this card during his bike-tour from Temple in Deerlijk to Pigdada place in Habay-N where Baudhuis Simon lives. His trip was dedicated to all mail artists who due to financial, social, political, physical or any other reason are limited in their possibilities to participate to the network. The card was also an invitation to react to the text on it, so these thoughts are dedicated to this card-initiative by José van den Broucke." Includes headings on "Limitations" (four statements); "What to do to Help" (two statements). "Mail Art: A Way of Life" (one statement); and "Speed of Communication" (four statements).

Part 13 (August 1996). Computer Print. 11 3/4"x8 1/4". 4 pages. "Who is Ray Johnson?...In October [1994, ed.] I started with my mail-interview project in which I invite(d) mail artists to answer my questions. Not in the form of a questionnaire, but more like a real interview where the mail artists can (react) in any communication-form he likes to the question, and that answer will deter(mine) my next question. I only found i(t) natural to try to get Ray Johnson involved in this project as well, but I thought he would not answer at all. To my surprise he answered very quick, within a week. Typical Ray (as I know now) that he didn't tell me about when he started his NYCS, but he just reacted to the invitation. I asked "answer in any leng(th) you choose," and Ray choose a specific length, which he indicated on the paper of the invitation..." contains the text of "The Unfinished Mail-Interview with Ray Johnson," which was interrupted by the subject's death on January 13, 1995. Contributions (digital) by Ray Johnson.

Part 14 (September 1996). Computer Print. 11 3/4"x8 1/4". 4 pages. "This 14th article deals with how I experience mail art nowadays... not an easy question, but I must say that since I started in 1980 the changes have been enormous. To mention a few: The internet has taken over a part of the communication...The mail artists from the beginning start to die...Mail artists have stopped...Mail artists who want to claim their part of the network. ('I won't mention names. But some mail artists want to achi(e)ve some place in the art history through the mail art network. They send out the strangest things, and document all they send out. Also send things to museums and archives to make sure that the mail art they send out will be there when the history-writers start to write the history.')..."

Part 17 (June-December 1997). Computer Print. 3 pages. "Future communication Part-2/Overkill." "Publishing Online." (Five statements including, "The fun of the internet is that the publishing of texts is so very easy, once you master the hardware and software. These thoughts #17 are an experiment. I won't send these words out by snail-mail into the mail-art network at all. I will only publish them online on this site, like a kind of diary."). "Let Me Know (Six statements including, "The purpose of these thoughts-online-are, to get reactions from you. I will bundle all the reactions, and make something out of it. The readers of these thoughts determine what will happen."). "Overkill of Information." (Four statements, including, "Since June 21th 1997 till today (August 28, 1997, ed.) about 900 hits, and the last month the average is 10 hits per day."). "Reactions."

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Soppalco, Il (The Balcony): Home Art Gallery. Vittore Baroni, Editor. EON (Eternal Open Network) Archives, Viareggio, Italy. 1989-1991.

(1989). Photocopy. 8 1/4"x5 3/4". (4 pages). "In the best tradition of underground samizat art and neoist apartment Festivals, I have built in the entry and living-room of my new house a small gallery composed of ten framed panels, size cm. 50x70. I will exhibit temporarily selections of works by single authors or collective projects, a drawing the materials from the EON Archives, now situated in two small rooms under the roof. the opening party with a score of local friends, was on April 1st, 1989, for a due tribute to the genius of Guglielmo Achille Cavellini (the man who introduced me to Mail Art). the Maestro himself visited the show in early July, leaving a trace in the log-book. IL SOPPALCO is not a traditional gallery, nothing is sold or bought, visits are only by appointment or, less formally, the audience is make up by friends, relatives, acquaintances, neighbors and any person that happens to pass through my home (thieves included). the other two shows of '89 are by Japanese noise-master and exquisite prono-cop-artist Masami Akita & junkyard poet/copy-art graffiti maniac Gustav S. Hagglund from NY City. Sole Curator: Vittore Baroni." Contributions by Cavellini (Italy), Masami Akita (Japan) and Gustav S. Hägglund (USA).

(1990). Photocopy. 8 1/4"x5 3/4". (8 pages). After the first three test-show of 1989, my little home-gallery IL SOPPALCO will present in 1990 six bi-monthly exhibitions, with a selection of original pieces and editions culled from the E. O. N. archives, belonging to six 'heroes' of the postal network: LON SPIEGELMAN, whose dedication, generosity and colorful alien doodlings are still in our hearts (will he ever rejoin the madness? can such wounds be healed in a lifetime?); GUY BLEUS, reclusive archivist and untiring organizer of collective projects, always accompanied by exciting catalogues; PAWEL PETASZ, genuine genius of self-publishing, combining wit and poetry on little handmade bits of paper; EDGARDO ANTONIO VIGO, for almost thirty years a one-man factory distributing visual poems and his own brand of humanistic (marginal) philately; RUGGERO MAGGI, indefatigable correspondent, shadow-maker, jungle lover and now curator of the first mail art gallery in Milan; ANNA BANANA, publisher of the seminal magazine Vile in the early seventies, still in the mail with her Banana Rag newsletter, fruity graphics and collective stamps editions..." contributions by Lon Spiegelman (USA), Guy Bleus (Belgium), Pawel Petasz (Poland), Edgardo Antonio Vigo (Argentina),Ruggero Maggi (Italy), and Anna Banana (Canada).

(1991). Photocopy. 8 1/4"x5 3/4". (8 pages).  "& We Remember G. A. C. It took some time to realize that the master of Self-Historification, GUGLIELMO ACHILLE CAVELLINI (1914-2014), is now residing in a different corner of the cosmos, without a mailing address. In 1991 my little HOME GALLERY will present bi-monthly exhibitions of SIX other ABSENT FRIENDS. Next year, 1992, IL SOPPALCO will be used as part of THE STICKERMAN MUSEUM, a one-year project devoted to the promotion of ADHESIVE ART." Exhibitions in 1991 by "Ulises Carrion (194-2041) NL...Demos Ronchi (1922-2022)I...Mike Bidner (1945-2045)CAN...Damasco Ogaz (19??-20??)VEN...Michael Scott (1934-2034)UK...Achim Weigelt (1965-2065)D..."

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Sorriso Vertical, Il. Natale Musarra, Editor. Edizioni LOPLOP, Piano Tavola, Italy. 1986.

No. 1 (October 1986). "Arte Postale/Mail Art." "An Introduction About Art and Exchange," by Guy Bleus (Belgium). "Brain Cell," by Ryosuke Cohen (Japan). "Also Mail Art Can be Jail Art or Who is Afraid of Ronnie Cohen?," by Vittore Baroni (Italy). From the catalog "Autoritratti Impertinenti," by Guglielmo Achille Cavellini. "Mail Art Show Editorial," by Alessandro Aiello (Italy). Participant List for the Mail Art exhibition, "Military Hospital." Contributions by Andrzei Dudek-Dürer (Poland), Luc Fierens (Belgium), Karsten Mattes (East Germany), Seiei Jack Nakamura (Japan), Vittore Baroni (Italy). Ubaldo Giacomucci (Italy), G. X. Jupitter-Larsen (Canada), John M. Bennett (USA), Manfred Martin (East Germany), Graf Haufen (West Germany), Annika E. Söderhom (Sweden), Ruggero Maggi (Italy), Serse Luigetti (Italy), et al. Publication and music reviews.

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SoS Jazz. Mark Corroto (aka FaGaGaGa), Editor. The Beat Coffeehouse, Youngstown, Ohio. 1995-1996.

(September 1995). Photocopy. 14"x8 1/2". (6 pages). "Why jazz criticism? Good question. Or me, with the marginal roll jazz plays in the total music sales and press, I see jazz reviews playing more the role of information provider then hard criticism." By the editor of, "Face."

(January/February [1996]). Photocopy. 14"x8 1/2". (8 pages). "Thelonious Monk was quoted as saying, 'writing about music is like dancing about architecture.' Sometimes I agree, but most times I feel a need to say something about the special things I hear...SoS Jazz is available free at coffee, book and record stores in North Eastern Ohio. Otherwise you gotta send us 2 stamps for a sample issue..."

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Source: Music of the Avant Garde. Stanley Lunetta, Editor. Composer/Performer Editions, Sacramento, California. 1972.

Vol. 6, No. 1 (1972). Offset. 13 3/4"x10 3/4" (oversize). 117 pages. Guest edited by Ken Friedman (USA). "International Sources: Notes on the Exhibition," by Ken Friedman. "'International Sources' is more than an issue of SOURCE Magazine. It was planned to be read and used as both a catalogue to an exhibition and as an exhibition itself...This exhibition is not intended as a definitive presentation either of the arts developed in the '60's, nor of what is happening today. While some amounts of definitive material are presented here-including the first full publication of the completed symphonic work of Nam June Paik and the first major publication of collected pieces by Stu horn-other materials are simply introductions to tremendously exciting areas of the arts that feed further careful research..." Contributions by dick Higgins (USA), Stu Horn (USA), Endre Tot (Hungary), Fluxus, Jiri Valoch (Czechoslovakia), Image Bank (Canada), Nam June Paik (USA), Albrecht D. (West Germany), Stanley Marsh 3 (USA), et al. Notable for the inclusion of reprints of the "NYCS Weekly Breeder," Vol. 1, Nos. 1-11, edited by Ken Friedman (later passed on to Stu Horn, and from Horn to the Bay Area Dada group).          

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Spaziomostre Alternative. Ce.S.A.Coo.P.-Arte, Editor. Barletta, Italy. 1993.

No. 15 (May 1993). Photocopy. 11 3/4"x8 1/4". (2 pages). "Mostra Del Mese: Fulgor C. Silvi," by Bruno Chiarlone (Italy). Includes a brief biography of Mail Artist Fulgor C. Silvi (Italy), and a recent exhibition history. Invitation to participate in the Mail Art exhibition, International Mail Art for the F.R.E.D. (Forum for the Re-Use of the Ex-Distillery," Barletta, Italy.

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Sphinx, The: A Journal of Inscrutability. Mumbles (aka John Eberly), Editor. Wichita, Kansas. (1989).

Vol. 1, No. 1 ([1989]). photocopy. 8 1/2"x5 1/2". (4 pages). "This is #4 in the new line of affordable autopublications now available from MUMBLES...HAM, GOOD FOR NOTHING, THE SPHINX, LTD ATTN SPAN and soon many other quality publications featuring original fiction, comix, poetry, etc. are yours  for the low, low price of one SASE each."

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Spiegelman's mailart rag. Lon Spiegelman, Editor. Los Angeles, California. 1983-1986.

Vol. 1, No. 1 (October 1983). Photocopy and Ink. 11"x8 1/2". 2 pages. "Penis Fudsworth's backlog attributed to new job," by the editor (aka Penis Fudsworth). "After two years of being out of work, I finally landed a job...I have been hired by the journalism department at California State University (Northridge campus) as the supervisor in charge of producing the daily campus newspaper...In the past six years of mail-art activity, this is the first major backlog of regular correspondence which I have experienced. Usually, I had managed to get in 40-60 hours per week." "News Briefs," notes the editor's progress with "Commonpress #21" and Mike Mollet's (USA), "VW Bus," project. "It's now time to take the vehicle apart, piece by piece, and mail it through the network. ..This is a real conceptual, performance, mail-art piece."

Vol. 1, No. 1 (November 1984). Offset and Rubber Stamp. 11"x8 1/2". 20 pages. "I've tried getting together as much mailart information as I can to share with everyone in this issue. Like I say, this is a personal 'Rag,' not a public 'Rag.' Please consider each copy a personal piece of correspondence that I didn't have time to sit at my old Royal typewriter and bang out to you, one at a time."  "World's Youngest Mailartist," a notice of the birth of Benjamin Karl Bennett, born September 20, 1984 to John M. Bennett (USA) and C. Mehrl Bennett (USA). "About this Issue...," by the editor. "I've been writing to people who dabble in mailart and want SASE's, or money for catalogues or want to auction shows off to cover their expenses, etc...something is happening within the Network that just doesn't set right with me...They not only want us to send them our work for free, but they want us to send them money to cover their expenses. That's bullshit, and it's been happening so much recently that I'm to the point that I don't want to send work to anybody who I don't know. That's too bad, because in the past I've always sent work to any show or publication or project that has labeled itself a 'mailart' project, thus offering support for a kindred spirit...This problem has to be dealt with if the Network is to survive as we know it today. Any suggestions?" "Book Review: Mike Crane: A Modern Quintilian: A Review of 'Correspondence Art' by Mike Crane," by Ernest J. Stroh-Symtra. "Special Mail Art Edition Retraction," in which the editor apologizes to Judith A. Hoffberg, editor of "Umbrella" magazine for an unauthorized issue (Vol. 7, No. 2). "From the Editor & Publisher: A Special Mail Art Edition came out in late March, edited by Lon Spiegelman, which was sent to some mail artists and friends of the 'editor' as a Volume 7, Number 2 edition of 'Umbrella.' As indicated above, it was unauthorized by me and thus, the retraction." "On the road with lhs...Spiegelman leaves 1/2 his beard at Interdada '84," an overview of the editor's experiences at "Interdada 84," in San Francisco, California, organized by Ginny Lloyd (USA) and Terrence McMahon (USA). "Off the road with L. Alien: Mollett lands on InterDada festival," by Michael Mollett (USA). "(Thoughts on InterDada '84)," by John Leslie Fox II (USA). "A report on InterDada '84 by John Held Jr." Photographs of Inter Dada Festival by John Leslie Fox II of Skooter (USA), Pat Fish (USA), Bill Gaglione (USA), Rockola (USA), Steve Caravello (USA), John Held, Jr. (USA), Turk LeClair (USA), Victoria Kirby (USA), Anna Banana (USA), Lisa Sellyeh (USA), Chuck Stake (Canada), Cavellini (Italy), et al.   "1981 Interview with Buster 'Dada' Cleveland." "Mailart News and Notes," with information on the activities of various Mail Artists, as well as Mail Art exhibition, project and publication opportunities. Separate listing for "Mailart Shows" and "Mailart Publications." An "open letter" from Carlo Pittore (USA) objecting to "filing fees" for juried exhibitions. Contributions by Al Ackerman (USA) and John M. Bennett (USA). Edition 7/400.

Vol. 1, No. 3 (September 1985). Offset. 11"x8 1/2". 20 pages. Review of Michael Crane's  "Correspondence Art," by John Evans (USA). "Thoughts from the League of Nations," by the editor, in which he states that he has documented participation in 1,068 Mail Art exhibition, project and publications from 1978-1984. "Mailartists share their work with each other, support each other spiritually, show each other's work in shows, publications and projects and never pay a fee or enter a juried show...Simply put-mailart is a pure and fee channel of communication between artists. The primary objective of mailartists is to keep the channels of communication open to all." "1984 mailart events: shows-projects-publications-shows," a listing of the editor's 1984 participation in the Mail Art network by date, name of exhibition, project or publication, and place. One of the first significant detailed Mail Art documentation projects. "Letters to the Editor" from Earnest Ftroh-Fymtra (aka Al Ackerman?, USA). Ray Johnson (USA), Jack Saunders (USA), Guy Bleus (Belgium). "Mailart News and Notes," includes mentions of Richard Meade (USA), Chuck Welch (aka Crackerjack Kid, USA), Musicmaster (USA), Ruud Janssen (Holland), David Zack (Mexico), Pat Larter (Australia), Al Ackerman, Pete Horobin (Scotland), Waclaw Ropiecki (Poland), Pawel Petasz (Poland), Rod Summers (Holland), Klaus Groh (West Germany), Creative Thing (USA), Stephen Perkins (USA), Pat Fish (USA), Tomasz Schulz (Poland), et al. "Mr. Network," an open letter from the editor to Shozo Shimamoto (Japan). "No Boy," by C. Mehrl Bennett (USA). Photographs of Mail Artist visiting the editor including John Evans, Creative Thing (USA), Minoy (USA), Richard Meade (USA), Michael Mollett (USA), John Fox (USA), Al Ackerman, Anthony Bradley (England), H. R. Fricker (Switzerland), Bill Gaglione (USA), Rudolph (USA), Michael Hyatt (USA), et al. Personal note from the editor to John Held, Jr. (USA) on back cover. Edition 19/500.

Vol. 1, No. 4 (December 1986). Offset, Rubber Stamps, Ink and Sticker. 11"x8 1/2". 20 pages. "Baroni views Italian mailart: The Current State of Mailart in Italy," by Vittore Baroni (Italy), an indispensable text on the subject. Forerunner of this present work, "Ma publications total over 130," by the editor. "With all of the recent discussion about the mailart network, publications seem to have taken a back seat to the more-talked-about shows. People just seem to do publications any way they want- ever hear of a bunch of 'considerations' for a 'mailart publication?'... Some publications devote only a small amount of their issue to 'mailart.' Some are felt to be 'mailart publications' merely because a large number of contributors are themselves considered to be mailartists. Some mailart periodicals are totally personal while others request the actual pages from contributors...Myself, I feel the best definition of a mailart publication is that its editor is a mailartist, because if they weren't a mailartist, then they wouldn't be doing a mailart publication...Anyway, I started thinking about all of the mailart publications that I've played with in the past. After coming to a short list from memory, I began going through my archives in search of the names of publication I couldn't remember. The final tally blew my mind. I didn't expect over 130 during the last nine years. And, I'm sure there are a bunch that I have forgotten...What makes my particular list valid to me, is that they are periodicals that I've played with during my mailart internment...I wish to dedicate this article on mailart publications to Pawel Petasz, the father of 'Commonpress,' which many of we mailartists consider the epidome (sic) of the genre." Publications listed by title, editor, and editor's address. "After Tourism Comes Spiegelmism." "Tourism valid if separated," by Pete Horobin (Scotland). "mailart news and notes," mentions the activities of Creative Thing (USA), Temporary Museum of Temporary Art (aka Miekal And and Liz Was, USA), Fred Truck (USA), Uncle Don (aka Don Milliken, USA), Carol Pittore (USA), E. M. Plunkett (USA), Musicmaster (aka Thomas Michael Cassidy, USA), Edgar Allen Bushmiller (USA), Sonja van der Berg and Margot van Oosten (Holland), John Held, Jr. (USA), Nenad Bogdanovic (Yugoslavia), Frank Gaard (aka Artpolice, USA), Bob Black (USA), David Greenberger (USA), Ginny Lloyd (USA), Cavellini (Italy), A-1 Waste Paper Co. Ltd. (England), Stephen Perkins (USA), et al. "Leboeufism, mailart congresses, symposiums spark 'New Audiencelessness," by Al Ackerman (USA). "But today, in terms of audience appeal and packing them in, mailart is definitely rivaling things like Morris Dancing and bee-keeping. This is called 'audiencelessness'-or the New Audiencelessness, if one happens to be speaking recently-and, you know what they say, once an art form or narrow-focus activity achieves this kind of non-recognition through all-out public apathy, then those of us who practice it find that we have, in a measure, been delivered from the constraints of public scrutiny and expectation." Lists of Decentralized World-Wide Mail Art Congresses," as complete a listing of mailart congress sessions as 'The Rag' could compile." Forty-eight sessions listed from January 9-October 16, 1986. "The First Family Fun and Games Los Angeles Mailart Congress." "Symposium lost in shuffle," a report of the "International Mailart Symposium" at the Canadian Correspondence Art Gallery, organized by Chuck Stake (Canada). A letter from buZ blurr (USA) describes the event, which drew the participation of Jürgen Olbrich (West Germany), Cracker Jack Kid (USA), Mark Dicey (Canada), and Sandra Tivy (Canada), et al. "Archives," by the editor. "Archives are merely the physical results of mailart activity which has taken the form of artists communicating with each other to share works and ideas, and collaborate on joint ventures, thus keeping their creativity alive and growing...More and more mailartists are expressing their concerns in trying to reach some kind on consensus on the vast amounts of property being amassed in private/public archives, including the results of mailart shows. This has come to the forefront of discussions given the recent rumors pertaining to the sale of the Jean Brown Archives and Judy Hoffberg's Umbrella archives...Jean Brown wrote back, in part, '...the Getty people who are handling the transaction of the archive sale and transfer are among those who have never heard of mailart and have asked me what mailart is. I've explained it twice and am prepared to do it again. It's so disorganized and nebulous. Meanwhile all the participants will be on file at the Getty Center for the Arts and Humanities where I think it correctly belongs. I have no doubt that am ambitious scholar will come along, study it and collate the philosophical intent and relevance of it. It will then become elevated to the status of a valid art form. I went through this with Dada for so many years..." Rod Summers (Holland) is featured in "Homage to the network's 'audio man'." Bern Porter (USA) visits Los Angeles. Contributions by Dazar (USA), Al Ackerman, et al. Edition 132/500.  

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Square. Pawel Petasz, Editor. Arriere-Garde, Elblag, Poland. 1982.

No. 1 (1982). Mixed Media. (9 pages). "The magazine devoted to mail art in oblong envelopes. Appears monthly in two complementary copies: left and right." Handmade paper cover with rubber stamp, with envelopes inside from the editor's correspondents, including Ko De Jonge (Holland) and Rocola (USA). Edition 2.

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STAMP. Arto Posto (aka Dorothy Harris), Editor. Clayton, Missouri; Chicago, Illinois. 1990.

Vol. 1, No. 2 (January 1990). Photocopy. 11"x8 1/2". (16 pages). Magazine for rubber stamp art. Reproduced rubber stamp work from 11 contributors including A.1. Waste Paper Co., Ltd. (England), Ruggero Maggi (Italy), Lancellotto Bellini (Italy), Vittore Baroni (Italy), John Held, Jr. (USA), Sally Mericle (USA), Musicmaster, et al.    

Vol. 1, No. 3 (February 1990). Photocopy. 8 1/2"x5 1/2". 28 pages. Rubber stamp art. "Mail Artists who contributed to this third issue of STAMP," number 16 participants including Juswannasurf (USA), Bruno Pommey (France), Gummiglot (USA), A Classic Pair (USA), C(arol). Schneck (USA), The Bag Lady (USA), Daniel Daligand (France), John Held, Jr. (USA), Malok (USA), Jean-Pierre Naud (France), J. K. Post (USA), Shmuel (USA), Jeanne Rust (USA), Lancellotto Bellini (Italy), et al.

Vol. 1, No. 4 (March 1990). Photocopy, Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". 42 pages. "MAIL ARTISTS who contributed to this fourth issue of STAMP," include 22 participants including by Vittore Baroni (Italy), John M. Bennett (USA), A Classic Pair (USA), Daniel Daligand (USA), Walt Evans (USA), Luc Fierens (Belgium), Gummiglot (USA), John Held, Jr. (USA), Ruud Janssen (USA), Hazel Jones (England), Maxie (USA), Salvatore de Rosa (Italy), C(arol). Schneck (USA), Shmuel (USA), Li Yu (USA), Lancillotto Bellini (USA), et al.

Vol. 1, No. 6 (July 1990). Photocopy. 8 1/2"x5 1/2". (48 pages). Editorial offices moved to Chicago, Illinois. "So many of you have spread the word to others, and more wonderful mail arrives here daily. Thank you. You have enriched my life, brought a smile, amazed me with your creativity, shared yourself and your art. This is the last STAMP, but I hope it is not the last mail art from you to me and each other. May all your mailboxes overflow!" Contributions by 32 artists from 9 countries including A.1. Waste Paper Co., Ltd. (England), Larry Angelo (USA), The Bag lady (USA), Rick Banning (USA), Fernand Barbot (USA), Steve Bieler (USA), Mark Bloch (USA), Vittore Baroni (Italy), A Classic Pair (USA), Joan Coderre (aka Arte Ala Carte, USA), Gullermo Deisler (East Germany), Ona Doddle (England), FaGaGaGa (USA), Gummigot (USA), Honoria (USA), Leavenworth Jackson (USA), Ruud Janssen (Holland), M. A. Longbottom (England), Ruggero Maggi (Italy), Jean-Pierre Naud (France), Clemente Padin (Uruguay), JK Post (USA), Rudi Rubberoid (USA), Marcel Stüssi (Switzerland), et al. 

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Stamp Act, The. Steven Bryan Bieler, Editor. Seattle, Washington. 1989-1991.

(Fall 1989). Photocopy. 11"x8 1/2". (20 pages). "Welcome to 'The Stamp Act' (formerly the Rubber Fanzine)...In taking over 'The Rubber Fanzine' from the pioneering Rubberoid, I have moved from spectator to participant....Rudi began 'TRF' in 1985, and produced 16 eye-opening issues before handing the reins to me." Contributions by 23 artists including A Classic Pair (USA), Al Ackerman (USA), A.1. Waste Paper Co, Ltd. (England), Larry Angelo (USA), Julie Hagan Bloch (USA), Oncle George (USA), Cyndi Fox (USA), Lotte Rosenkilde Hansen (Denmark), Juswannasurf (USA), Maxie (USA), Donna Nasser (USA), Any Salyer (USA), Candi Strecker (USA), et al.

(Winter 1990). Photocopy. 11"x8 1/2". (20 pages). Twenty-six contributors including A Classic Pair (USA), A.1. Waste Paper Co., Ltd. England), Mimi Acosta (USA), Larry Angelo (USA), Bruce Pommey (aka Lola Fish, France), Edward R. Gonzo (aka Rudi Rubberoid, USA), Gummiglot (USA), Donna Nassar (USA), E. Z. Smith (USA), Larry Thomas (USA), Sharon Tuke (USA), et al.

(Spring 1990). Photocopy. 11"x8 1/2". (22 pages). "This is my third issue of TSA; there are no copes available of the first two, Fall '89 and Winter '90." Twenty-four contributors including A.1. Waste Paper Co., Ltd. (England), A Classic Pair (USA), Joan Coderre (USA), Woody Farlee (USA), Gummiglot (USA), Lotte Rosenkilde Hansen (Denmark), Leavenworth Jackson (USA), Donna Nasser (USA), Oncle George (USA), Rudi Rubberoid (USA), Any Salyer (USA), Candi Strecker (USA), et al.

(Summer 1990). Photocopy. 11"x8 1/2". (20 pages). Twenty-one contributions including A.1. Waste Paper, Co., Ltd. (England), Joan Coderre (USA). Ishkabibbel (USA), Gummiglot (USA), Cyndi Fox (USA), Musicmaster (USA), Donna Nassar (USA), Carolyn Olenius (USA), E. Z. Smith,  et al. 

(Fall 1990). Photocopy. 11"x8 1/2". (20 pages). Rubber Stamp art. Twenty-one contributors including A.1. Waste Paper Co, Ltd. (England), Larry Angelo (USA), Gummiglot (USA), Lotte Rosenkilde Hansen (Denmark), Musicmaster (USA), Donna Nassar (USA), Rudi Rubberoid (USA), Michael Sakolsky (USA), Larry Thomas (USA), Sharon Tuke (USA), et al.

(Winter 1991). Photocopy. 11"x8 1/2". (20 pages). "In 1989, I was given possession of Rudi Rubberoid's 'The Rubber Fanzine,' which I renamed 'The Stamp Act'...I am now turning this enterprise over to-A Classic Pair. Look for The Rubber Fanzine II in your mailbox this fall. Nineteen contributors including A Classic Pair (USA), Arte Ala Carte (aka Joan Coderre, USA), Woody Farlee (USA), Gummiglot (USA), Musicmaster (USA), Donna Nassar (USA), Rudi Rubberoid (USA), Any Salyer (USA), et al.

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Stamp Art. Joel Rossman, Tim Mancusi, and Bill Gaglione, Editors. Abracada; The Stamp Art Gallery, San Francisco, California. (1980)-1995.

([1980]). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (54 pages). Rubber Stamp assembling magazine. "'Stamp Art' accepts only handstamped pages 150 8 1/2"x11"). Sorry, no Xerox. This issue's front cover was designed by Tim Mancusi from a photograph taken by Patrick Rupert. It is the worlds first 3-color rubber stamp image." Fifty-five contributors including Anna Banana (Canada), Vittore Baroni (Italy), John M. Bennett (USA), Henryk Bzdok (Poland), Monty Cantsin (Canada), Buster Cleveland (USA), Geoffrey Cook (USA), Crackerjack Kid (USA), Joachim Frank (USA), Nancy Frank (USA), Tohei Horiike (Japan), Leavenworth Jackson (USA), Ginny Lloyd (USA), Carl Loeffler (USA), Ruggero Maggi (Italy), Bern Porter (USA), Jean Marc Rastorfer (Switzerland), Rockola (USA), Johan Van Geluwe (Belgium), G. E. Marx Vigo (Argentina), Carlos Zerpa (Venezuela), et al. Edition 150.

No. 2 ([1981]). Photocopy, Rubber Stamps and Mixed Media. (59 pages). Rubber stamp assembling magazine. Edited by William Gaglione. "Produced in a limited edition of 150, is a collection of rubberstamp art featuring the hand stamped works of international artists." Fifty-seven contributors including Vittore Baroni (Italy), John M. Bennett (USA), buZ blurr (aka Russell Butler, USA), buster Cleveland (USA), Ko De Jonge (Holland), Dogfish (USA), Igor Durisin (Czechoslovakia), Fancy Frank (USA), Mauricio Guerrero (Mexico), Judith Hoffberg (USA), Alex Torrid Zone Igloo (USA), Leavenworth Jackson (USA), Birger Jesh (East Germany), Jacques Juin (West Germany), Serse Luigetti (Italy), Scarlatina Lust (USA), Ruggero Maggi (Italy), Tim Mancusi (USA), Rockola (USA), Marilyn Rosenberg (USA), Joel Rossman (USA), Lon Spiegelman (USA), et al. Rubber stamp on front cover. Edition 150.   

No. 3 ([1982]). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (81 pages). Rubber stamp assembling magazine. William John Gaglione, editor. Published by Abracada. "Contributors to STAMP ART should send 150 handstamped copies of rubbberstamp artwork, size 8 1/2"x11" (21.5cmx28cm) to the publisher. All contributors will receive a copy." Ninety-three contributors including Ammunition (USA), Vittore Baroni (Italy), Byron Black (Japan), Guy Bleus (Belgium), Paul Cotton (USA), Dadaland (aka the editor, USA), César Espinosa (Mexico), Pittore Euforico (aka Carlo Pittore, USA), John Evans (USA), John Jacobs (USA), Leavenworth Jackson (USA), Ginny Lloyd (USA), Ruggero Maggi (Italy), Manuel Marin (Mexico), Graciela G. Marx (Argentina), Richard Meade (USA), MIT (USA), Padma Press (aka Carol Stetser, USA), Michele Perfette (Italy), Post Neo (aka Robert Rockola, USA), Lon Spiegelman (USA), J(aroslav) Supek (Yugoslavia), Bill Whorrall (USA), Annie Wittels (USA), et al. Edition 150

No. 4 (Summer 1983). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". (81 pages). Rubber stamp assembling magazine. Edited by William Gaglione. Published by Abracadada. Seventy-nine contributors including Bernard Banville (aka Zona, USA). John M. and C. Mehrl Bennett (USA), Guy Bleus (Belgium), Bart Boumans (Holland), Buster Cleveland (USA), Paul Forte (USA), Rocklola (USA), Leavenworth Jackson (USA), John Jacobs (USA), G. X. Jupitter Larsen (Canada), Ruth Laxson (USA), Ruggero Maggi (Italy), Manual Marin (Mexico), Dan Max (USA), Richard Meade (USA), Jürgen Olbrich (West Germany), Géza Perneczky (West Germany), Carlo Pittore (USA), Radio Free Dada (USA), Steve Random (USA), Steen Mollar Rasmussen (Denmark), Angelika Schmidt (West Germany), Carol Stetser (USA), Skooter (USA), Josef Venker (USA), Anne Wittels (USA), et al.

No. 5 (Summer 1984). Photocopy, Rubber Stamps and Mixed Media. 11"x8 1/2". 125 pages. Rubber stamp assembling magazine. Edited by William Gaglione. "STAMPART #5, Summer 1984, is a double edition magazine co-published with CARE #11. the magazines are similar in concept. They are non-judgmental art communication projects based on a central theme. contributors share in the creation of the magazine by submitting multiple copies of their work, which are assembled by the editor. CARE magazine is a mail art magazine founded by Bart Boumans and students from the academy of art in Erdschedt, Holland. CARE #1 was first published in March 1982. CARE magazine is based on the principles of earlier publications, such as THE WEEKLY Breeder-founded by Ken Friedman in San Diego in the early 170s and the European magazine COMMONPRESS, founded by Pawel Petasz in Poland in 1975. Each issue of these publications had a different editor, with a unique theme, size, and design concept...As guest editor of CARE #11, Bill Gaglione has chosen rubberstamp art as the theme and combined this issue of CARE #11 with STAMPART #5. This combination issue is the largest yet published. Its more than 125 pages contains a wide assortment of rubber stamp images, computer graphics, water color, copyart and collage." Contributors to both "Stampart" and Care" include Gail Alien (USA), Kum-Nam Baik (South Korea), Anna Banana (Canada), Vittore Baroni (Italy), John M. and C. Mehrl Bennett (USA), Jeff Berner (USA), Guy Bleus (Belgium), Phyllis Cairns (USA), Ryosuke Cohen (Japan), Buster Cleveland (USA), Anna Couey (USA) Patrick Beilman (aka Cowtown Art, USA), Dogfish (USA), Klaus-Peter Furstenau (West Germany), John Jacobs (aka H.Y.P.E., USA), John Held, Jr. (USA), Leavenworth Jackson (USA), Fruit Basket Upset (USA), Ginny Lloyd (USA), Ruggero Maggi (Italy), Tim Mancusi (USA), Des McLean (USA), Richard Meade (USA), Minoy (USA), Ms. Pitts (USA), Private World (USA), Indian Ralph (USA), Steve Random (USA), Steen Moller Rasmussen (Denmark), Rockola (USA), Steve Ronan (USA), Paul Rutkovsky (USA), Rubbert Sperling (USA), Franklin Stein (USA), Carol Stetser (USA), Patricia Tavenner (USA), Carol Zastoupel (USA), et al.

No. 6 (Summer 1985). Photocopy, rubber Stamps and Mixed Media. 11"x8 1/2". (67 pages). Rubber Stamp assembling magazine. Edited by Wm. Gaglione. Contributors include Sheril Cunning (USA), H. R. Fricker (Switzerland), Fruit Basket Upset (USA), Phyliss Cairns (USA), Ruth Howard (USA), Leavenworth Jackson (USA), LA Dada Group (USA), Ginny Lloyd (USA), Private World (USA), Indian Ralph (USA), Carol Stetser (USA), Alan Vorpat (USA), students at The Academy of Art  (San Francisco, California), et al. Edition 150.

(January 10, 1992). Photocopy, Rubber Stamps, Photograph and Mixed  Media. 11"x8 1/2". (20 pages). Rubber Stamp assembling magazine. "The Networker Congress Issue." Edited by Picasso Gaglione. Published by The Stamp Art Gallery, San Francisco, California. "This special limited edition of Stamp Art was published at the Stamp Art Gallery during the Networker Congress and International Mail Art Show in San Francisco on 10 January 1992." contributions by American Mail Artists E. Z. Smith, Hardboard Ed, The Moadster (aka Maillory Moad), John Tostada, John Held, Jr. and the editor. Photograph by E. Z. Smith of the contributors on the front cover. Editon 9/19.             

(1995). Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". (20 pages). "This is a special rubber stamp issue of Stampzine" stamped on cover. Contributors include San Francisco Bay Area artists Picasso Gaglione, John Held, Jr., R. Seth Friedman (editor, "Factsheet Five"), Geoffrey Cook, Patricia Tavenner, Ted Purvis, Diana Mars, Jessica Goddard, Steve Caravello, et al. Edition 9/35.

(1995). Rubber Stamps and Mixed Media. 8 1/2"x5 1/2". (20 pages). Variant of above. Edition 15/35.  

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Stamp Axe. Daniel Langlois, Diane Daigneault, and Pier Lefébvre, Editors. Montreal, Canada. 1987.

Vol. 3, No. 1 (1987). Offset. 11"x8 1/2". (64 pages). Thirty-seven contributors including Manfred Stirenmann (Switzerland), Clemente Padin (Uruguay), Antonio Tregnaghi (Italy), Bruno Chiarlone (Italy), Carla Bertola (Italy), Jan Verschoore (Holland), Henning Mittendorf (West Germany), Ulrich Kattenstroth (West Germany), Klaus Groh (West Germany), Pierre Marquer (France), David Jarvis (aka Aard Press, England), Lloyd Dunn (USA), Fernand Barbot (USA), Stephen Perkins (USA), Miekal And and Elizabeth Was (USA), G. X. Jupitter-Larsen (Canada), et al.

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Stamp World. C. T. Chew, Editor. Triangle Post, Seattle, Washington. 1984.

(1984). Newsprint. 17 1/2"x11". (8 pages). Artistamp/Visual Poetry publication, with artist postage stamp contributions by E. F. Higgins III (USA), Anna Banana (Canada), George Maciunas (USA), Buster Cleveland (USA), Patrick Beilman (USA), Cavellini (Italy), Scarlatina Lust (USA), Dogfish (USA), Bill Ritchie (USA), the editor, et al. 

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Stampola. Geraldine Serpa (aka Ms. Pitts), Editor. Eureka, California. 1981-1984.

Vol. 1, No. 1 (November 1981). Newsprint. 15"x11 1/2". 15 pages. Rubber stamp magazine. "Well here it is, my first issue of STAMPOLA, at last in print. I'm excited about the possibilities for future articles and rubber stamp people that I will meet./ I have done correspondence art and rubber stamping since 1973. I've had an opportunity to correspond with a lot of talented people. I have most of their correspondence in my files. Through STAMPOLA I can share it with all of you...There will be articles in future issues on a lot of rubber stampers and correspondents." Feature on cover artist Carol Law USA). Participant list for the rubber stamp/Mail Art exhibition "Eureka, I Have Found It!" Contributions by Sas Colby (USA), Carioca (USA), Steven Durland (USA), et al. "Stampart Gallery," with contributions by Mario Lara (USA), et al. Mail Art exhibition and project opportunities.

Vol. 2, No. 1 (February 1982). Newsprint. 15"x11 1/2". 12 pages. "Letters," including one by Carolyn Olenius (USA). "Call for Entries," lists Mail Art exhibition, project and publication opportunities. "Odds and Ends," mentions Guy Bleus (Belgium), Carlo Pittore (USA), Rosalie's Hotel (USA), et al. Contribution by Bruce Wood (USA). 

Vol. 2, No. 2 (June 1982). Newsprint. 15"x11 1/2". 15 pages. "Letters" by Carol Law (USA), John Fawcett (USA), et al. "Postcard-Pourri," includes contributions by Bruce Wood (USA), Ken Brown (USA). Bill Nelson (USA), Frank Ferguson (USA), Henk Tahnkeldy (Holland), et al. "Stampart Gallery," includes contributions by Turk Le Clair (USA), Pawel Petasz (Poland), Vittore Baroni (Italy), Lon Spiegelman (USA), Anna Banana (Canada), et al. "Call for Entries," includes mail Art exhibition opportunities. Contribution by Michael Row (USA). "Odds & Ends," mentions "Umbrella" magazine, Candi Strecker (USA), Rosalea's Hotel (USA), etc.

Vol. 2, No. 3 (November 1982). Newsprint. 15"x11 1/2". 15 pages. "Letters" by Carolyn Olenius (USA), Michael Row (USA), et al. "Mailer's Postmarks," by the editor. "Call for Entries" lists Mail Art exhibition, project and publication opportunities. "Odds & Ends" mentions Leavenworth Jackson (USA), "Carlo Pittore (USA), "BILE"  and "Stampart" magazine, et al.

Vol. 3, No. 1 (February 1983). Newsprint. 15"x11 1/2". 19 pages. Reviews of "Stamp Art #3" edited by William John Gaglione, and "SWAK: The Complete Book of Mail Fun for Kids," by Randy Harelson (USA). Feature on Bill Whorrall (USA). Feature on Carioca (aka Carrie Carlton, USA)."Call for Entries," lists Mail Art exhibition, project and publication opportunities. Review of "Heavy Pieces," Mail Art project organized by Dave Lovell (USA). "Odds & Ends" mentions Dadaland (aka Bill Gaglione, USA).

Vol. 3, No. 2 (Spring 1983). Newsprint. 15"x11 1/2". 19 pages. "Letters," includes correspondence from Lon Spiegelman (USA), envelopes from Leavenworth Jackson (USA) and Irma Perez (USA). "Carla Crypic," by Tom Leavitt. "Anna Banana, Chuck Stake, Art Rat; correspondence artists come up with great names for themselves. Our latest discovery in Carla Cryptic, a mail artist and prolific carver of rubber stamps." "Call for Entries" lists Mail Art exhibition, project and publication opportunities. "Odds & Ends" mentions "Umbrella" magazine; the exhibition, "Rubber Stamps and Libraries," (curated by John Held, Jr., USA); ABRACADADA, "the self-proclaimed 'World's First Rubber Stamp Store' opened by Bill Gaglione" (USA); and a project by Lon Spiegelman.

Vol. 3, No. 3 (Summer 1983). Newsprint. 15"x11 1/2". 19 pages. "Call for Entries" lists Mail Art exhibition, project and publication opportunities. "Odds & Ends" mentions Carla Cryptic (USA) and "Interdada 1984."

Vol. 4, No. 1 (Winter 1984). Newsprint. 15"x11 1/2". 19 pages. "Op Dreams," features the op-art rubber stamps of William Gaglione (USA). "Letters" features correspondence from Irma Perez (USA), Ruggero Maggi (Italy), et al. "Call for Entries" lists Mail Art exhibition, project and publication opportunities. "Odds & Ends" mentions Darlene Altschul (aka Tarzana Savannah, USA); William Gaglione; Rockola (USA); Sas Colby; "Correspondence Art," by Mike Crane and Mary Stofflet; Modern Realism Gallery, in Dallas, Texas, directed by John Held, Jr. (USA), et al.            \

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Stamps From/Collage of Stamps From. Ruud Janssen, Editor. TAM (Travelling Art Mail)- Rubberstamp Archive Tilburg, Holland. 1988-2001.

No. 6282 (1988). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). "Everybody who sends out mail-art uses various kinds of rubber-stamps. I'm making an archive of all those stamps, and therefore I kindly ask you to print a few of your (funniest....)stamps on this paper, and return it to Ruud Janssen...Thank you!" TAM 8810 (self-administered publication number).

No. 6419 (1989). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 89-05.

No. 7472 (n.d.). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Note attached.

No. 7473 (n.d.). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).

No. 8893 (n.d.). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).

No. 8930 (n.d). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).

No. 9213 (1993). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 93.2

No. 9557 (1993). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 93.8

No. 10199 (1993). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 93-12

No. 10714 (1994). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Note Attached. TAM 94.05

No. 10715 (1994). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 94.05

No. 11291 (1994). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Text changes slightly. "Everybody who sends out mail-art uses various kinds of rubberstamps. I'm making an archive of all those stamps, and therefore I kindly ask you to print a few of your (funiest or what-ever...) stamps on this paper, and return it to: Ruud Janssen...Thank You!" TAM 94.11.

No. 12466 (1995). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 95.07.

No. 12467 (1995). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 95.07.

No. 12956 (1995). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 95.11

No. 13324 (1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 96.01

No. 13325 (1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 96.01

No. 13326 (1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 96.01

No. 14051 (April 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Text added to bottom reads, "This archive started October 1983 and since then mail artists have sent in their prints. The number above indicates how many sheets have been sent out, and I hope you will keep sending in all kind of new rubber stamps!"

No. 14052 (April 15 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). 'this sheet was printed on: 15 April 1996."

No. 14053 (April 15, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page).

No. 14264 (1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 96.06

No. 14265 (1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). TAM 96.06

No. 14535 (May 29, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). "In October 1983 I started the TAM Rubber Stamp Archive. 13 years later there will be an exhibition about this huge archive. A selection will be shown but you have the chance to send in your latest stamps for this exhibition by sending this sheet or previously send out numbered sheets (only original sheets are accepted) before October 5th 1996 to: STAMP ART GALLERY...After this deadline the papers end up in the TAM-Rubberstamp Archive...Thank You!...this sheet was printed on: May 29, 1996.

No. 14553 (May 29, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). As above.

No. 14987 (June 25, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Stamp Art Gallery Special. "this sheet was printed on" June 25, 1996). Stamp Art Gallery Special.

No. 14989 (June 25, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Stamp Art Gallery Special.

No. 14991 (1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Stamp Art Gallery Special.

No. 16019 (September 21, 1996). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). Stamp Art Gallery special. Note attached: "The last sheet I send out...(for USA expo)." Printed on the bottom: "more info at: <http://www.geocities.com/Paris/4947/rub_arch.html> this sheet was printed on: September 21, 1996.

No. 16076 (October 7, 1996). Computer Print and Rubber Stamp. 11 3/4"x4". (one page). Note on the bottom of sheet. "This archive started October 1983 and since then mail artists have sent in their prints. the number above indicates how many sheets have been sent out, and I hope you will keep sending in all kind of new rubber stamps!

No. 16077 (October 7, 1996). Computer Print and Rubber Stamp. 11 3/4"x4". (one page).

No. 16148 (October 17, 1996). Computer Print and Rubber Stamp. 11 3/4"x4". (one page). "this sheet was printed on: 17 October 1996 and distributed in USA."

(1996). Computer Print and Rubber Stamps and Mixed Media. 11 3/4"x4 1/4". (19 pages). Nineteen sheets of "Stamps From," distributed in 1996, bound in a book by The Celestial Shardery, Gone Ballistic Press, Dan Diego, California.

No. 16568 (1997). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". Odd size sheet for series. "more info at http://www.Geocities.com/Paris/4947/rub_arch.html" TAM 97.2 "

No. 17535 (June 20, 1997). Computer Print. 11 3/4"x4". (one page). "Everybody who send out mail-art uses various kinds of rubberstamps. I'm keeping an archive of all those stamps (started in 1983), and therefore I kindly ask you to print a few of your (funniest or what-ever...) stamps on this paper, and return it to: Ruud Janssen c/o: TAM Rubber Stamp Archive, ...Thank You!" Bottom of the sheet reads: "the number above indicates how many sheets are sent out since Oct. 1983. more info at URL: <http://www.geocities.com/paris/4947/rub_arch.html> this sheet was printed on: 20 June 1997"

No. 19619 (September 11, 1998). Computer Print and Rubber Stamp. 11 3/4"x4". (one page). "Stamps From:" changed to "Collage of Stamps From:" "This is a special sheet for the archive. I send them to mail artists whom I know they use stamps. Please place name-stamp (above) and one or more other stamps (below) on this paper. If you aren't #4, pass on the sheet. If you are #4 then return it to: Ruud Janssen, c/o: TAM Rubber Stamp Archive...Thank You!." Bottom reads: "this is a special collage stamp sheet sent out in September 1998." Stamps by Guido Bondioli (Guatemala), b. saved (USA) and John Held, Jr. (USA).

No. 19682 (September 1998). Computer Print and Rubber Stamp. 11 3/4"x4". (one page). "Collage of Stamps From."

No. 19683 (September 1998). Computer Print and Rubber Stamp. 11 3/4"x4". (one page). "Collage of Stamps From."

No. 20513 (January 7, 1999). Photocopy. 11 3/4"x4 1/4". (one page). Photocopied sheet sent by Norberto Jose Martinez (Argentina).

No. 22178 (October 4, 1999). Computer Print, Rubber Stamp and Sticker. 11 3/4"x4". (one page). Printed on the bottom: "this is a special collage stamp sheet sent out in June 1999/more infor at URL: <http://www.geocities.com/Paris/4947/> this sheet was printed on: maandag 4 oktober 1999." Rubber stamps printed on the sheet by Keiichi Nakamura (Japan) and Eberhard Janke (Germany).

No. 22462 (October 20, 1999). Computer Print and Rubber Stamps. 8 1/4"x5 3/4". (one page).  "Collage of Stamps From:...This is a special sheet for the archive. I send them to mail artists of whom I know they use rubber-stamps. Please place name-stamp (above) and one or more other stamps (below) on this paper. If you aren't #2, pass on the sheet. If you are #2 then return it to: Ruud Janssen, c/o: TAM Rubber Stamp Archive,...Thank You!" Rubber stamps by Petra Weimer (Germany).

No. 22473 (October 28, 1999). Photocopy and Rubber Stamp. 11 3/4"x4". (one page). "Collage of Stamps From." Rubber Stamps added by John M. Bennett (USA).

No. 22914 (February 29, 2000). Computer Print and Rubber Stamps. 11 3/4"x4 1/4". (one page). "Collage of Stamps From:...This is a special sheet for the archive. I send them to mail artists of whom I know they use rubber stamps. Please place name-stamp (above) and one or more other stamps (below) on this paper. If you aren't #4, pass on the sheet. If you are #4 then return it to Ruud Janssen, c/o: TAM Rubber Stamp Archive,...Thank You!" Stamps by Dale Speirs (Canada), editor of "Opuntia."

No. 23537 (April 2, 2001). Computer Print and Rubber Stamp. 11 3/4"x4 1/4". (one page). "Collage of Rubberstamps From:...From 1983 till the end of 2000 TAM formed an archive with rubberstamp prints. 23468 sheets were sent out and over 10000 were returned. for the year 2001 and further you can still send in your prints. this part of the archive goes straight into the Archive of the Aministration (sic) Centre in Belgium. If you aren't #3, print on this paper and pass on the sheet. If you are #3 then return it to: The Administration Centre-RSA, attn. Guy Bleus...Thank You!"

No. 23538 (April 2, 2001). Computer Print and Rubber Stamp. 11 3/4"x4 1/4". (one page). As above.

No. 23549 (April 2, 2001). Computer Print and Rubber Stamp. 11 3/4"x4 1/4". (one page). Stamps by Petra Weimer (Germany).

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Stark Fist of Removal, The: Newsletter of the Church of the SubGenius™. Douglass St. Clair Smith (aka Rev. Ivan Stang), Editor. SubGenius Foundation, Dallas, Texas. 1980-1989.

Vol. 17, No. 37 (1980). Offset. 8 1/2"x7". 24 pages.  A "fake cult," whose strain runs through Mail Art in the manner of Neoism. "The Church of the SubGenius is an Order of Scoffers and Blasphemers, dedicated to Total Slack, delving in Mockery Science. Sadofuturists, Megaphyics, Scatolography, Schizophreniatrics, Morealism, Sarcastrophy, Cynisacreligion, Apocalyptionomy, ESPectorationalism, Hyno-Pediatrics, Subliminimalism, Satyriology, Distro-Utopianity, Sardonicology, Fasciestiouism, Ridiculophagy, and Miscellatheistic Theology."

Vol. 17, No. 38 (1981). Newsprint. 14 1/2"x11 1/4". (28 pages). Mail Artist tEntatively, a cONVENIENCE (USA), a Neoist convert,  listed as "SubGenius Freak Out of the Year."

Vol. 17, No. 39 (1982). Newsprint. 11"x8 1/2". 55 pages. "The correct Line: A Primer for Pinheads," by Bob Black (USA). Pam Nelson (USA) "shows miraculous Dobbs Dinner Roll manifestation."

Vol. 17, No. 40 (1983). Newsprint,. 11"x8 1/2". 95 pages. "The Church is not responsible for the actions of individuals which may result from the mere possession of this Book. any resemblance by characters in these pages to any person, living or dead, except where intended for direct satirical purpose is strictly 'coincidence.' That's right, it's all a big joke! Ha ha! 'The Conspiracy'-what a laugh! Ha ha! 3,000 children starving to death in Mexico City every day, ha ha! Radioactive waste canisters rotting in the ocean! Ha ha ha! Mind control by horrible secret societies - yuk, yuk, yuk." Chicago convention participants include tENTATIVELY a cONVENIENCE (USA). Luke McGuff (USA), Candi Strecker (USA), Bob Black (USA), et al.   

Vol. 17, No. 41 (1984). Newsprint. 11"x8 1/2". 111 pages. "Banana Rag," edited by Anna Banana (Canada), listed in "Misc. One-Man or One Woman Oddities."

Vol. 17, No. 41&42 (1989). Newsprint. 11"x8 1/2". 127 pages. Contributions by A-1 Waste Paper (England), Al Ackerman (USA), Winston Smith (USA), Tuli Kupferberg (USA), Norman conquest (USA), Joe Schwind (USA), et al.

(n.d.). Newsprint. 11"x8 1/2". 16 pages. "Other Mutants: Part One: Your New SubGenius Pals, continued." Listing of co-conspirators includes St. tENTATIVELY, a cONVNIENCE (USA), Sean/Monty Cantsin (USA), Neoistic Krononauts (aka Paul summers, USA), Jake Berry (USA), Rev. Malok (USA), Winston Smith (USA), De Media (Belgium), Rev. Arthur Berkhoff (Holland), Istvan Kantor (aka Monty Cantsin, Canada), A-1 Waste Paper Co. Ltd. (England), DJ FOMT (aka Daniel Johnson, North Ireland), G. X. Juppiter-Larsen (Canada), Nunzio Nunzio (aka Al Ackerman, USA), PhotoStatic (USA), HYPE (aka John Jacobs, USA), Genesis P. Orridge (England),  et al.  

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Stars & Types: International Comics-Fanzine. Jo Klaffki (aka, Mona Catbird and Joki Mail Art). Edition Kunst-Bahnhausen, Minden, Germany. (1988)-1991.

No. 1 ([1988]). Offset. 8 1/4"x5 3/4". 47 pages. "This should be the No. 1 - and in defiance al all speculations, it's also the 'number one' in Germany-a small-press-zine (total print run 500) destined for an international comic-fan-community./First, we love our creators (The STARS), because they are (still!) non-profit-jobers by this subject. Then we enjoy theirs unspent creations (the TYPES), which also make a bright impression." Comic strip art by artists drawn mainly from the international Mail Art network.

Contributors include Stephen Jacob (East Germany), Brian Salzberg (USA), David Cole (USA), Reima Mäkinen (Finland), Arturo G. Fallico (USA), Mogens Otto Nielsen (Denmark), Antonio Tregnaghi (Italy), John Held, Jr. (USA), A.1 Waste Paper Co. Ltd. (England), Gerard Barbot (USA), E. Seifried (West Germany), Pedro Juan Guitierrez (Cuba), Heino Otte (West Germany), Mark Rose, USA), et al.

No. 2 ([1989]). Offset. 8 1/4"x5 3/4". 48 pages. Comic art. Contributions by Julie Doucet (Canada), H. R. Fricker (Switzerland), W. W. Neumann (East Germany), Stefen Jacob (East Germany), Rea Nikonova (USSR), Ruggero Maggi (Italy), Serge Segay (USSR), Yoshiaki Kobayashi (Japan),  Antonio Gomez (Spain), G. Lerici (Italy), Ace Backwards (USA), Mike Duquette (Canada), Vittore Baroni (Italy), Charles François (Belgium), Baudhuin Simon (Belgium), Bill Whorrall (USA), Brian Salzberg (USA), A.1. Waste Paper Co. Ltd. (England), Hazel Jones (England), Gerard Barbot (USA), Dobrica Kamperelic (Yugoslavia), G. Lipinsky (West Germany), et al. 

No. 3 (1989). Offset. 8 1/4"x5 3/4". 48 pages. Comic art. Contributions by Reima Mäkinen (Finland), A.1. Waste Paper Co. Ltd. (England), Vittore Baroni (Italy), Kimmo Framelius (Finland), Julie Doucet (Canada), G. Lerici (Italy), Jeff Hoagart (USA), W. W. Neumann (East Germany), Mike Duquette (Canada), Ace Backwords (USA), et al.

No. 4 (1990). Offset. 8 1/4"x5 3/4". 48 pages. "...dear comic-lover, meanwhile the art-strike-shadows were overwhelming the Kunst-Bahnhausen-academy and it was to fear getting stopped this successful STARS & TYPES-edition." Comic Art. contributions by Rea Nikonova (USSR), Gian Luca Lerici (Italy), Yoshiake Kobayashi (Japan), Baudhuin Simon (Belgium), Arturo G. Fallico (USA), Mike Duquette (Canada), Ruggero Maggi (Italy), W. W. Neumann (East Germany), Vittore Baroni (Italy), Renee Boows (Holland), Gerard Barbot (USA), Ace Backwords (USA), Reima Mäkinen (Finland), Julie Doucet (Canada), Lucien Suel (France), Stephen Jacob (East Germany), Walter Askin (USA), et al.

No. 5 ([1990]). Offset. 8 1/4"x5 3/4". 48 pages. Cover by David Cole (USA). Comic art. Contributions by Wemöwe (aka Achim Weigelt, West Germany), Salvatore de Rosa (Italy), A1 Waste Paper (England), Walter Askin (USA), Maria Chr. Menezes (Brazil), Baudhuim Simon (Belgium), Günther Ruch (Switzerland), Vittore Baroni (Italy), Gerard Barbot (USA), Julie Doucet (Canada), Jaroslav Supek (Yugoslavia), Serge Segay (USSR), Gian Luca Lerici (Italy), Marco Pasian (Italy), E. Seifried (East Germany), Daniel Daligand (France), Pedro Juan Gutierrez (Cuba), Crackerjack Kid (USA), et al.

No. 6 (1991). Offset. 8 1/4"x5 3/4". 48 pages. "Just we are back again, after a 4-month long break collecting materials, in o(r)der to present this issue. Purely the sixth but not a sexed. If you consider why the imagination of STARS & TYPES is poorly sexminded, even though we never select or censor contributions. A good answer may be this: all of our cheerful creating coworkers haven't problems with their sexual conditions. That's the result of a splendid mental inspiration into our network, which needs neither selection nor censorship./If we look backwards we find published more than 60 honorable comic creators till yet. ...It may wonder the devil, when we combine ART-STRIKE-project with comics' affairs, but we insist on saying 'comic isn't art'. its only a cheerful play, isn't that enough?" Contributions by W. W. Neumann (Germany), Robin Crozier (England), Ace Backwords (USA), Ruggero Maggi (Italy), Giovanni Strada (Italy), Crackerjack Kid (USA), Vittore Baroni (Italy), Heino Otto (Germany), A.1. Waste paper (England), Julie Doucet (Canada), E. Seifried (Germany), David Cole (USA), Arturo G. Fallico (USA), et al. "Comic-Stamp-Project. Cracker Jack Kid from Lebanon/USA has crated & sent us the left shown stamp-frame for collaboration with-in the ART-STRIKE-project. Please take part & draw in your self-portrait and send to:..." Art Strike postage stamp completed by John Held, Jr. (USA).

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State University of New York at Buffalo Reporter. Robert T. Marlett, Executive Editor. Division of University Relations, Buffalo, New York. 1988.

Vol. 19, No. 20 (March 10, 1988). Newsprint. 16 3/4"x11 1/4". 16 pages. "Mail Art," by Chris Vidal (USA). "Examples of the many faces of mail art are now on display in Lockwood Memorial Library, compiled by Gregory Puchalski, a 1972 graduate of UB with a B.A. in Fine Arts, who is now a billboard painter in Pittsburgh. The exhibit is a collection of some of the pieces he has received since the early '70s." Contributions by H. R. Fricker (Switzerland), et al.

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Stirnnetz Mit Der Spinne. Dirk Fröhlich, Editor. Buchlabor, Dresden, Germany. 1993.

No. 30 (1993). Photocopy, Rubber Stamps and Mixed Media. 11 1/2"x8 1/4". 39 pages. Also called "Spinne." Collaboration by participants through the post. contributors include Guillermo Deisler (Germany), Hartmut Graf (Germany), Rea Nikonova (Russia), David Cole (USA), Crackerjack Kid (USA), José Oliveira (Portugal), PLG Friesländer (Germany), Hans Ruedi Friker (Swiizerland), Lutz Wohlrab (Germany), Birger Jesch (Germany), Peter W. Kaufmann (Switzerland), Serge Segay (Russia), José VdBroucke (Belgium), Vittore Baroni (Italy), Angela Pähler (Germany), Peter Küstermann (Germany), Vittorio Baccelli (Italy), Arturo G. Fallico (USA), John Held, Jr. (USA), Mark Pawson (England, Hazel Jones (England), Michael Leigh (England), Paul Jackson (aka Art Naphro, England), et al. Edition 21/26.

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Stomp! Luca Brunori, Editor. Certaldo, Italy. 1989.

Vol. 1. No. 1 (June 1989). Photocopy. 8 1/4"x5 3/4". (16 pages). Participant list for the Mail Art exhibition, "Peperon de' Paperoni," an homage to the cartoon character Uncle Scrooge McDuck on his 88th birthday. Contributions reproduced from participants Serge Segay (USSR), Guido Bondioi (USA), Arthur Berkhoff (Holland), Alessandro Ceccotto (Italy), Rea Nikonova (Russia), Shigeru Nakayama (Japan), A1 Waste Paper (England), Claudine Barbot (USA), Ben Allen (North Ireland), et al.

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Strange Faeces. Opal and Ellen Nations. Oakland, California. (1974).

No. 15 ([1974]). Photocopy. 11"x8 1/2". (176 pages). Cover by the editor. Contributions by Frank Ferguson (aka Sir Quaxalot, USA), Monte Cazazza (USA), Ray Johnson (USA), Cees Francke (Holland), Anna Long (aka Anna Banana, USA), Pat Tavenner (USA), Carlo Giovanni Cicatelli (aka Charles Chickadel, USA), Gill Gaglione (USA), Bill Farley (USA), Rain Rein (USA), May Wilson (USA), Al Ackerman (USA), Greg Puchalski (USA), Tim Mancusi (USA), Tyler James Hoare (USA), et al.

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Stress: The First Italian Music & Life Free Newsletter. Claudio Cherardini, Editor. Prado, Italy. 1987.

Vol. 4, No. 32 (October 18, 1987). Newsprint. 11 3/4"x8 1/4". 16 pages. First national edition. "Mail Art News," by Roberto Banchi (aka Bobo, Italy). Short article on Mail Art with a list of Italian Mail Artists including Ruggero Maggi, Marcello Diotallevi, Marco Pasian, Vittore Baroni, Guglielmo Achille Cavellini, Laura Vitulano Bruno Capatti, et al. Contribution by Bruno Captti (Italy).

Vol. 4, No. 39 (November 29, 1989). Newsprint. 11 3/4"x8 1/4". 16 pages. Second national edition. "Mail Art News," by Roberto Banchi (aka Bobo). A listing of Mail Art projects, including those organized by Piermario Ciani (Italy) and Bruno Capatti (Italy).

Vol. 4, No. 42 (December 20, 1987). Newsprint. 11 3/4"x8 1/4". 16 pages. Third national edition. "Mail Art News," by Roberto Banchi (aka Bobo, Italy). List of Mail Art contacts including Paulo Brus(c)ky (Brazil). Bruno Chiarlone (Italy), Robert Maria Mascheroni (Italy), et al.

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Stretch Marks: A Rubber-Stamp Art Zine. Roslyn M. Stendahl, Editor. Minneapolis, Minnesota. 1995.

Vol. 2, No. 4 (November 1995). Offset. 11"x8 1/2". (28 pages). "The good news is that this issue is 4 pages longer than the last, 28 pages inkling the covers. That's 8 more than the first February 1994 issue. The bad news is that you hold the last regular issue of 'Stretch Marks' in your hand./When I started 'Stretch Marks' in February 1994 I had only two criteria for its continuation. 1. I had to keep having fun with it; 2. it had to break even by the end of two years. You're holding issue 8 in your hands, two years of quarterly publication. I'm still having fun with 'Stretch Marks' but despite expensive efforts at advertising, and help from all sorts of rubber-folk promoting 'Stretch Marks,' it still does NOT break even....For all these reasons I've decided it isn't prudent to continue 'Stretch Marks.' I needed 500 subscribers to break even, but I never seemed to break the 300 mark by much. The 'penis' controversy seemed to be a sticking point for many." Contributions from Laural Hall (USA), Michael Sakolsky (USA), A.1. Waste Paper Ltd. (England),Beth Jacobs (USA), Zetetics (USA), Rick Banning (USA), Victoria Miguel (USA), Woody Farlee (USA), Steve Frenkel (USA), et al. Stamp Art Gallery (San Francisco, California) poster for "Women in the Post: Rubber Stamp Books by Beth Jacobson and Rice Freeman-Zachery," by Bill Gaglione (USA).    

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Strike/Strike 1990-1993. Don Baker and Jeff Brice, Editors. Seattle, Washington. (1989).

(1989). Photocopy. 8 1/2"x5 1/2". (20 pages). "First there was the Art Strike,/Then there was the Word Strike,/Now, there is the Strike/Strike./Three Strikes And You're Out...This booklet is produced for a certain network, apart from the mainstream concerns of art. It uses the language and symbols that are accessible to the system it moves through. Even mail networks contain aesthetics, they naturally arose out of necessity. Does that negate the meaning of the doctrines of non-aesthetic-values of mail art philosophy? Don't we look at DADA as an aesthetic in the context of our art historical roots? The artstrike, wordstrike and the strike/strike are positive influences in the artistic groups because they make us THINK!!!"

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Strippers's Lament. Kalynn Campbell, Editor. Devil's Press, North Hollywood, California. 1989.  

(1989). Photocopy. 8 1/2"x5 1/2". (16 pages). Pin-up and tattoo inspired art. "Permission to reprint any crap within must be obtained in writing or an obese strip-o-gram will appear at your door."

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Student Artist Call for Survival. Michael Schwartz, Editor. Student Artist Call, Tucson, Arizona. 1992.

Vol. 1, No. 2. (January 1991). Photocopy. 5 1/2"x4 1/4". (32 pages). "Student Artist Call seeks to establish a network committed to non-violent transformation, of society, towards a culture of sustainability, equality and self determination. Student Art Call works to bridge the gap between environmental, social, peace and justice organizations via the arts, while expanding and diversifying the student movement."

Vol. 1, No. 3 (May 1991). Photocopy. 5 1/2"x4 1/4". 38 pages. "Make Free Art with Artist in Residence Michael Schwartz," includes notice of the editor's "Postal Art Project." César Figueiredo (Portugal) authors, "Mail-Art Exhibition Against a Genocide Celebration." Mail Art exhibition, project and publication opportunities. Contributions by Lora Jost (USA), Gerard Barbot., Chris Dodge and Jan DeSirey (aka MSRRT, USA), Epistolary Stud Farm (USA), Angela & Henning Mittendorf (Germany), Pedro F. Bericat (Spain), et al.

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Sty Zine. Mike Murrman, Editor. Bloomington, Indiana. 1995.

No. 25 (1995). Photocopy. 5 1/2"x4 1/4". (120 pages). "Very simply, this issue of Sty Zine is a collection of postcards I received from 1993-1995. It is not a complete collection, like I would have wanted, but it's a p(r)etty bunch of cards. I don't know for sure why I'm doing this, reprinting these, but it's an idea that's been bouncing in my head for over two years. It feels great to get it out of my head. Some of these cards are like running sagas, unfolding stories of people's lives; others are quick notes from strangers. Either way, they say a lot. I've recently become fascinated with postcards, both receiving and sending them. You can only say so much on a postcard, usually just enough..."

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Subliminal Zone Chronicles Comix, The. Arte Ala Carte (aka Joan Coderra), Editor. Cosmos Comix, Canton, Connecticut. 1992.

Vol. 1, No. 3 (Spring 1992). Photocopy and Mixed Media. 7"x4 1/4". 32 pages. "Trading Cards-Artistamps-Comix."

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Subtle Journal of Raw Coinage, The. Geof Huth, Editor. Schenectady, New York. 1991.

No. 45 (1991). Rubber Stamps. 7 1/2"x3". (one page). "Wordst (sic) by Michael Helsem." Rubber stamped "poetry,' by the Dallas, Texas, artist/poet. Edition 120.

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Suite et Fin. Vincent Courtois, Editor. Lyon, France. 2000.

No. 3 (November 2000). Computer Print. 8 1/4"x5 3/4". (16 pages). Prose, poetry and graphics. Eight contributors including Tartarugo (Spain).  

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Summer Rites. Guido Vermeulen, Editor. Lingua & Littera, Brussels, Belgium. 1996.

(December 1996). Photocopy and Mixed Media. 11 3/4"x8 1/4". (28 pages). Poems "Based on an art performance," by Marilyn Dammann (USA), and "a cycle of dutchpoems translated into English," by the editor. "Art Biography" of the editor enclosed.

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Sushi. (John Eberly), Editor. Mega Multi Corporeal Mumbles Empire, Wichita, Kansas. (n.d.).

No. 1 (n.d.). Photocopy. 8 1/2"x5 1/2". 3 pages. "Sushi Blindfold Test with Eel Leonard." The editor quizzes the musical aptitude of Eel Leonard (aka Al Ackerman, USA). "the biggest surprise for The Eel was the revelation of #3, by his favorite diva. 'Shore shoulda got that-un' fumed The Eel. Asked for any furthur comments, he belched: 'Drink Ovalteen!'

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Synthetica. Carli, Editor. Seattle, Washington. 1991.

No. 10 (June 1991). Photocopy. 11"x8 1/2". (2 pages). "Escaping," a "story in installments"  by Svjetlana Mimica (Yugoslavia). 

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Syzygy. Sth Tisue and Brad Russell, Editors. Plastercramp Press, Chicago, Illinois. 1990.

No. 1 (September 1990). Photocopy. 8 1/2"x7". 52 pages. "Why Publish Noise," by Miekal And (USA). Interview with Bob Black (USA). "The Facts on Polywave," by G. X. Jupitter-Larsen (Canada). "Reviews," by Seth Tisue (USA). Contributions by Michael Shores (USA), Freddie Baer (USA), John M. Bennett (USA), Musicmaster (USA), Michael Helsem (USA), Angela Mark (USA), Guy R. Beining (USA), Jake Berry (USA), et al.

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Sztuka Fabryka News. De Decker Geert, Editor. Sztuka Fabryka, Tielrode, Belgium. 1996-2001.

(April 1996). Computer Print. 5 1/2"x4". (2 pages). Three testimonials on behalf of the curative powers of receiving letters from Sztuka Fabryka. 

(September 1996). Computer Print. 5 1/2"x4". (2 pages). "Reconstruction of the 'Galeria Sztuka Fabryka' logo. Used by Pawel Hipcio-founder of Sztuka Fabryka in the year 1937-as an information flyer for his customers."

(May 1998). Computer Print. 5 1/2"x4". (2 pages). "P. Hipcio's house of birth and place where Galeria Sztuka Fabryka was located, Zakopane-Poland."

(May 1998). Computer Print.  5 1/4"x4". (2 pages). Biography of Pawel Hipcio, Polish founder of Sztuka Fabryka in 1937.

(April 1999). Computer Print. 5 1/4"x4". (one page). "In 1997 'Sztuka Fabryka' designed a serie(s) of pencils for 'Spoek (P)encils'."

(September-October-November 2000). 8 1/4"x3". (one page). "For the Sztuka Fabryka Archive a database has been compiled that is based upon our classification system that we use for the storage of mail-Art. meanwhile we do the last works on the reorganisation for the Archive so that in December we can start to put the information of  our Archive onto the database."

(January-February 2001). Computer print. 8 1/4"x3". (one page). "The re-organisation of the Archive continues. meanwhile we started to put the information of our Archive into the database. Ask us for information if you are interested about our Archive."       

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