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Bibliozine Bibliozine, Part XI Tisma, Andrej. "Toward the New Art." Novy Zivot-Nové Umenie (New Life-New Art), Obzor Publishing, Novy Sad, Yugoslavia, 1990. 80 Pages. This special book edition of the popular art magazine Novy Zivot was edited by Yugoslavian Mail Artist Jaroslav Supek and focuses on visual and concrete poetry within the international postal networking community. Géza Perneczky, Richard Kostelanetz, Fernando Aguiar, and Balint Syombathy, contribute essays besides the one by Tisma, in which he attempts "to define the common characteristic of the essentially new and progressive art of this century." Tisma views the artist as one increasing concerned with ethical rather then aesthetical issues. "The artist is now consciously taking over the role of barometer of the traumas of his time, but also that of an agent initiating the process of recovery. He is now functioning as a modern shaman who can tell good from evil He is 'the consciousness of mankind,' a foil to the erosive trends in society." Tisma, Andrej. Private Life: International Mail-Art Show. Savremena Galerija, Zrenjanin, Yugoslavia. 1986. 39 Pages. An exceptional Mail Art exhibition catalog, which includes a major essay by Tisma, Aspects of Mail-Art, excellent reproductions of work submitted for the exhibition, and the addresses of participants. Aspects of Mail-Art, was subsequently republished in many other Mail Art publications. Headings within the essay include, Historical, Means of Expression, and The Spirit of Democracy. The specific theme was chosen because of "the nature of mail-art as an art of communication, correspondence, something which issues from the artist's intimate experience and enters that of another person." Tisma, Andrej. Nature Gives... EC Sombor, Sombor, Yugoslavia. 1992. 218 Pages. A major Mail Art catalog, which attracted the attention of some 375 international artists. Three essays are followed by extensive reproductions, many of which are in color, by each artist included in the show. Tisma organized the project and contributes an essay explaining the theme of man's alienation from nature. Tisma, Andrej. Druge Te(rit)orije. Krovovi, Sremski Karlovci. 1992. 190 Pages. Tisma's most comprehensive anthology of writings to date, unfortunately published only in Serbo-Croatian. Over fifty essays are reprinted from Dnevnik, the newspaper for which Tisma is the art critic. In the course of this handsome paperback book, Tisma comments on the history of progressive art, performance, Mail Art, video art, art as ritual, as well as a number of contemporary art manifestations. Bibliozine #45 (March 1996) Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, e-mail art, fax, DIY culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. Mail Art Magazines of Long Duration Lately I've been receiving current issues of long standing mail art magazines. Their longevity indicates that they have found a particular networking niche global artists find of benefit. Finding this niche is a very satisfying aspect of the network experience. Once a structure is found, one concentrates on the task on hand, leaving behind the uneasy search for direction. AU. Edited by Yoyoi Yoshitone. Nishinomiya, Japan. Number 135. October 1995. Art Unidentified, or Artist Union, is a venerated Japanese
alternative artspace supported by ex-Gutai member Shozo Shimamoto. Published
since the late 70s, each issue documents the events of the membership.
This recent issue features many photographs of Native American Dennis
Bank 's visit to Japan, where he participated with AU members in the
ongoing Sacred Run, a marathon run by Native Americans to disseminate
messages of world peace. Also featured in this issue is Bern Porter,
an American scientist who participated in the making of the Hiroshima
bomb, and later renounced his role to become a peace activist and experimental
artist. Reading AU is an excellent way to keep informed of progressive
Japanese art. (AU, 1-1-10 Koshienguchi, Nisahinomiya Hyogo, 663 Japan)
Everybody loves Brain Cell, and everyone in the world is seemingly in it. This is the grand stewpot where graphics from all over the planet meld together. It's done in that most mysterious and beautiful of Japanese duplicating methods - the gocco printer. Along with the sheet of swirling colors and network images, is another with a list of names and addresses of the participating artists. Each unit contains some fifty to seventy participants from fifteen to twenty countries. In person Ryosuke is an unassuming impeccably dressed Junior High School teacher. In the network, disguised as Brain Cell, he attains superhuman powers. (Brain Cell, 3-76-1-A-613, Yagumokitacho, Moriguchi-city, Osaka, 570 Japan) Net Informer. Edited by Andrea Ovcinnicoff. Genova, Italy. Number 78. January 1996. The former Arte Arte is one of the prime sources of information about Mail Art in Italy. Each issue is chock full of mail art show notices, network gossip, performance activity, congress and touristic information - all the facets of the international network. Although the zine is in Italian, it's still possible to figure out what is being said. An excellent source of prime network graphics as well as textual information. It has certainly added to the increasing number of Italian networkers. (Net Informer, Vico di Coccagna 1/3, 16128 Genova, Italy) Mani Art. Edited by Pascal Lenoir. Grandfresnoy, France. Number 91. January 1996. It's a miracle of sorts that this is up to number 91. That has to make it one of the longest running (ten years) assembling magazines ever. Contributors send editor Lenoir 60 originals or copies in sizes 21 x 15 cm. This issue contains the work of 19 artists from Germany, England, Canada, Switzerland, USA, Holland, Russia, Portugal, Argentina, and Spain. Lenoir is a good example of the networker who plugs away in a standard format over a long period, thereby having an influence on the entire organism of the net. It says as much about the net as it does about the editor when a publication like this finds so much support over such a long period. (Mani Art, 11 Ruelle de Champagne, 60680 Grandfresnoy, France) Postfluxpostbooklet. Edited by Luce Fierens. Mechelen, Belgium. Number 38. January 1996. Each issue the editor selects the work of a particular correspondent and shapes it into a collaborative booklet composed of both their images. Fierens has been doing this for a number of years, and he is in contact with a broad spectrum of the network, so it is always interesting to see where his focus will land the next time. Luce finally gets around to me in issue 38. But all good things come to those who wait- and diligently linger, as all the editors reviewed in this issue so successfully do. (Postfluxpostbooklet, Grote Nieuwedijkstr. 411, B-2800 Mechelen, Belgium) Stampzine. Edited by Picasso Gaglione. San Francisco, California. February 1996. A continuation of the editor's earlier Stampart, Gaglione first collated a rubber stamp assembling in 1979 as VILE #7. In that issue he compiled the first bibliography of rubber stamp art, and in his current position as the Director of The Stamp Art Gallery, he continues to pursue the history of the medium. Contributors are encouraged to send 75 original rubber stamped 8 1/2" x 11" pages for collation. (Stampzine, 466 8th Street, San Francisco, CA 44103). Bibliozine #46 (April 1996) Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, e-mail art, fax, DIY culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. International Mail Art Zines: One of the perks of moving to San Francisco is meeting some of the movers and shakers in the alternative scene. V. Vale of Re-Search Publications has produced a consistent body of influential work on topics as Industrial Culture, Angry Women, Modern Primitives, Body Manipulation, and is currently in production for a series on Zine Culture. Three books are planned, and Vale is presently conducting re-search on the second volume. We met at an Anarchist Book Fair in Golden Gate Park early in April, and followed this up with another meeting in the Re-Search offices, where I brought along works by Geza Pernecky, Stephen Perkins, and Chris Dodge, which I thought would give Vale a better perspective on the international diversity of the zine scene. Vale immediately saw the relevancy of the materials to his current project and arranged for a more formal interview. In preparation for the conversation, which occured on April 8, 1996, I listed 67 zines from 26 countries for discussion. The following compilation of international mail art zines are from my rummages in the Modern Realism West Archives, currently in storage in South San Francisco. Argentina: Hexagono (Edgardo Vigo), Hoje Hoja Hoy (Graciela Gutierrez Marx). Australia: Convolusions (Cerebral Shorts). Belgium: De Media (Jan De Boever),Info-Mam (Guy Stuckens), Libellus (Guy Schraenen), Megazine Bulletin (Jan De Boever), Network (Roger Avau), PostFluxPost (Luce Fierens), Temple Post (José VdBroucke). Brazil: A Margem (Franklin Capistrano, Falves Silva), Poezine (Avelino de Araujo), Wellcomet Boletim (Gilbertto Prado). Canada: Artistamp News (Anna Banana), Banana Rag (Anna Banana), Novoid (Colin Hinz), Pyramid (John Atkin). Cuba: Banco de Ideas Z (Ludivico). Chile: Preciosa Nativa (Hans Braumüller). Croatia: In the Light of the Heart (Svjetlana Mimica). East Germany: UNI/vers (Guillero Deisler). England: Curious Thing (Michael Leigh), Fatuous Times (O. Jason), Punkomik (David Jarvis), Re:Action (Stewart Home), Smile (Stewart Home). France: La Langouste (Dominique Leblanc), Le Timbré (Daniel Daligand), Lettre, Documentaire (Philippe Billé), Mani-Art (Pascal Lenoir), Margaret Freeman Digest (Christophe Mielle), Metro Riquet (Françoise Duvivier), Model Peltex (Dominique Leblanc), Readymail (Pascal Lenoir), Real Bullshit (Ben Vautier). Germany: Smile (Joki Mail Art). Holland:, TAM-Bulletin (Ruud Janssen). Ireland: Mail Art Portraits (Eamonn Robbins). Italy: Arte Postale! (Vittore Baroni), Circolo Pickwick (Giuseppe Iannicelli), Conoscersi (Bruno Perchioli), Lo Strangero (Ignazio Corsaro), Mail Art Archive (Alessandro Ceccotto), Stamp (Serse Luigetti), Stress (Claudio Gherardini), Transfusion (Alessndro Ceccotto), Japan: Aerial Print (K. Takeishi), AU (Shozo Shimamoto), Brain Cell (Ryosuke Cohen), Copy (Shigeru Nakayama), Shigeru Magazine (Shigeru Nakayama). Latvia: For the Clerisy (Brant Kresovich). Mexico: Expresion Deforme (Tina Anderson), Poste Arte (César Espinosa). North Ireland: Fomt Circular Mail (David [DJ at Fomt] Johnson). Norway: El Djarida (Guttorm Nordø). Poland: Art Forum (Pawel Petasz). Russia: Double (Rea Nikonova). Switzerland: Clinch (Günther Ruch); Commonpress (Günther Ruch). Uruguay: El Networker Latinoamericano (Clemente Padin), O Dos (N. N. Argañaraz), Participacion (Clemente Padin). Venezuela: C(art)a (Damaso Ogaz). Yugoslavia: Cage (Aleksandar Jovanovic), Total (Nenad Bogdanovic). General: Global Mail (Ashley Parker Owens), Worlds in Collision (Chris Becker). Bibliozine #47 (May 1996) Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, e-mail art, fax, DIY culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. The Bay Area Dadaists (1970-1984) With such periodicals as The NYCS Weekly Breeder, The West Bay Dadaist, Dadazine, and VILE, The Bay Area Dadaists paved the way for the zine and punk aesthetic later in the decade. The core of the group (Steve Caravello, Charles Chickadel, Bill Gaglione, and Tim Mancusi) met in San Francisco's Barons art supply store in the late sixties. Associate members, including Anna Banana, Monte Cazazza, Opal Nations, Irene Dogmatic, Patricia Tavenner, Ginny Lloyd, Darling Darlene, Tip Top, and Winston Smith, all contributed zines of their own and participated in the many events and performances also associated with the group. On April 20, 1996, Caravello, Chickadel, Gaglione, and Mancusi, met at The Stamp Art Gallery , bringing with them the zines they edited in those halcyon days. In the spirit of Dada, many of the periodicals bore dates that were intentionally incorrect, so it behoved me to have the principles on hand to unravel some of the inconsistencies. All together, I compiled a listing of 50 magazines on that initial meeting. Some representative entries are listed below from a forthcoming, Annotated Bibliography of the Bay Area Dadaists (1970-1984), I am in the process of compiling.
In About VILE (1983), editor Anna Banana reflects on her reasons for starting the publication. "VILE was inspired by FILE Magazine's growing disdain for mail-art. It began at Speedprint, a small instant print shop in San Francisco where it became apparent to me that anyone could be a publisher. In 1973, letter by Robert Cumming and Hudson of Ant Farm voiced FILE's viewpoint; that mail-art is a plague on art and ought to be wiped out immediately. As an ardent 'mail-arter.' I disagreed, and so began work on the first issue of VILE which appeared in February '74 as a new forum for mail-art...For VILE, I visualized a magazine that would look like LIFE, but on close examination, would reveal its true nature; subtle put-down of the mass culture with nasty, dada, 'up-yours' type messages. However, it didn't take any close examination of the first couple of issues to see that they looked nothing like LIFE beyond their covers. The material I received in response to my first invitation did not lend itself to presentation in the imagined format. It was all full-page artwork; collages, drawings and writings. Rather than delaying the first issue to ask for other, I published the material received, presenting it in a wrap-around cover over the vello bound pages. The red and black cover featured a photo of Monty Cazazza made up to look as though he had just torn his heart out. At the time of VILE 1, some of the artists originally involved in mailing art were still active, so the issue has works by David Mayor/Fluxus, Alan Bealy, Dana Atchley/Spaceco, Davi Det Hompson, Felipe Ehrenberg/Beau Geste Press, Genesis P. Orridge/Throbbing Gristle and Marcel Idea/Image Bank, along with may others who are still active in mail-art, but are unknown outside that network." Caravello, Steve, ed. Introducing Mendo Area Dada. (Vol 1. No. 1), 1976. Standard (photocopy). (12 pages). "MENDODADA has been growing for six years, gaining strenth (sic) in the hills for our assault on Indo-European/American Art./In MENDODADA's short public history, we have smashed through the media, flashed the art world, and now prepare to slash our way into the hearts of sleeping liberal America. Crashing, mashing, trashing, etc., etc., etc..." A collaboration with Buster Cleveland, the Princess Kropotkin, and Polly Ester Nations. "MENDODADA was formed as a protest against the whole bullshit art trip that is happening. We are totally a performance happening and theatre trip with visuals thrown in. We have no hope or care to make money through our art. All art is a political act. DADA IS EVERYWHERE. There is no division between art and life." Reproduces several newspaper accounts pertaining to the "the Mendocino Dada Group, along with their associates from San Francisco, the Bay Area Dadaist (B. A. D.)" defacing Christo's Running Fence with the Message, "Dada is God. Dada is Love. Dada Dada Dada." Cazazza, Monte. Nitrous Oxide. Vol 1. No. 1. (1973). Confusion Intl., San Francisco, California. Standard (Photocopy, Original Art). 22 pages. "The only magazine held together by a paper clip." Contains photocopy collage, typewritten articles, reprints from newspaper articles, a "romance column," original spray paint art, printed rubber stamp impressions, performance documentation, and more. Contributions from L Redlich, J. Bell, Ken Friedman, Jukebox, Ruby Begonia, Prof. Dada, and others. A true melding of the Bay Area Dada scene and punk style not yet in public currency. Cicatelli, C. G. (Chickadel, Charles), ed. LIFE (QUOZ?). Vol 2., No. 7. September 1974. Trinity Press, San Francisco. Mini (Photocopy, grey). 40 pages. The "Editor's First Invitational Issue." Contributors include Monte Cazazza, The Northwest Mounted Valise, Ms. Ann Thrope, Sally French, Opal Nations, Tom Hosier, Anna Banana, Daddaland, Tim Mancusi, Al Souza, Genesis P-Orridge, Dale Lee Coovert, Tip Top, Futzie Nutzle, A. M. Fine, Sir Quaxalot, Indian Ralph, and Commander Telos. Daddaland's (Bill Gaglione) contribution is of special interest as it portrays a rack of periodicals at the "S. F. Museum Dadazine Shop." The cartoon character Charlie Brown exclaims, "What a Beautifully Dadda Layout!" before such titles as FILE, Rabbit Pellets, Mendo Do, West Bay Dadaist, Strange Faeces, Nitrous Oxide, 491, Heirs, Nadada, Flash Art, Da Vinci, VILE, Fanzine, Balloon Newspaper, Ovum, CAYC, Da-Jest, Banana Rag, Art and Artist, QUOZ?, Zebra, Mix, We Are Not Droppers, Sin City, Avalanche, I.A. C., Young Lust, Modern Correspondance, and the NYCS Weekly Breeder, a veritable Who's Who of the emerging mail art zine scene. Underneath it all read the words DADAZINES. Gaglione, Wm. John. Vile. Number 7: Stamp Art. Winter 1979. VILE International, San Francisco, California. Standard (Offset, Rubber Stamps). (unpaged) A major rubber stamp assembling compiling original rubber stamp works from over one hundred and eighty artists in twenty-four countries. The artists were asked to submit three hundred copies of original rubber stamp art, which were then collated. The list of artists is a virtual Who's Who in rubber stamp and mail art activity in the seventies, including Paulo Bruscky (Brazil), Henryk Bydok (Poland), Mike Crane (USA), Robin Crozier (England), Leif Eriksson (Sweden), Gyorgy Galantai (Hungary), Terry Reid (Australia), Rudi Schill (Switzerland), G. E. Marx Vigo (Argentina), and Jiri Valoch (Czechoslovakia), just to mention some of the far-flung contributors. Anna Banana is credited with being the Associate Publisher, Joel Rossman with being the Production Manager, and Madeline Behrens-Bringham the Collating Coordinator. In addition to it's importance as a guide to rubber stamp activity at the time of it's publication, the work contains a five page listing of, "Rubber Stamp Shows, Publications, & Events" from 1970-1979, making it one of the earliest sources of bibliographic information on the field. A seminal work manifesting the importance members of the Bay Area Dadaists placed on the rubber stamp medium. Mancusi, Tim, ed. The Very Last NYCS Weekly Breeder. Vol. 3, No. 7. Autumn 1974. Bay Area Dadaists, San Francisco. Standard (Photocopy). 17 pages. Credits for this issue list Mancusi as the Editor, Bill Gaglione as the Assistant Editor, Design/Concept by Dada Processing, Cover and Editorial Photographs by Carlo Cicatelli, and Typesetting by Anna Banana. The editorial by Mancusi and Gaglione traces the history of the publication, it's effect on the emerging mail art environment, and the reasons for it's demise. It's importance bears repeating in full. "Let me begin my sophomoric babble by saying 'Yes.' to your stunned and heartbroken question - Yes, this is the very last NYCS Weekly Breeder. Unlike the West Bay Daddaist which died but will surface again as "QUOZ?" the Weekly Breeder as you have known it for over two years will not publish again after this issue. A decision made long before Ken Fiedman's recent attempt to regain the Breeder editorship and return it to a weekly series of one or two-page xeroxed sheets similar to the now classic Volume One which Ken edited for twelve or so issues. Ken says he lost most of the copies to his recent Breeder so if you got one in the mail like Daddaland did, better keep it in a vault. It's a small fortune in itself./ Most of the correspondence rookies who have been reading the Breeder for a year or two probably don't realize that Mr. Friedman (director of Fluxus West and international conceptualist) was the founder of the NYCS Weekly Breeder almost 3 years ago. Or that Stu Horn of the Northwest Mounted Valise was editor for three months before asking the Bay Area Daddaists to take over in May of 1972./ Yes, the Weekly Breeder has gone through many changes in those years and I must admit this current issue has nothing to do visually or editorially with what Ken Friedman's Breeders were about, or Stu Horn's. But I believe that Volume three represents the realization of the modern dadazine and was influential in inspiring the current 'zine scene' (to quote Marcel)./ Big deal, right? Exactly. I mean we had a lot of fun and all but we spent a couple of hundred dollars every time an issue came out. Money earned in a garment factory as opposed to behind a drawing table./ I know almost everybody enjoyed the Breeder but none of the Museums or Libraries ever responded to receiving the complete Volume Three (seven issues) in answer to their request. Were we putting out a daddazine or contributing to the selfish "Limited Edition" genre of the social elite? Lack of funds limited our editions to the 2-300 bracket even though most of the pages seemed to have been done with that 'in 20 years these will be worth..." attitude that we all slip into./ I've got other habits I want to finance and right now Breeder editor isn't one of them. Why should I when I can send my pages to Da Vinci, Quoz?, Rabbit Pellets, Strange Faeces, Vile, 491, Focke Edition or whoever else wants to play the editor role. They're popping up all over and there's no stopping 'em. There's even one being sent from Alaska. Current correspondances are switching their step, changing their stroke./ and so this Weekly Breeder is no more than the editors swan song. The last toke...a kiss goodbye. Let us wallow in the glory of the fame that was the NYCS Weekly Breeder for all your subscriptions have been cancelled." This issue is important for other reasons, including a Daddaland Quikkopy Mail Art listing of some one hundred and forty active participants in the emerging Eternal Network. This Who's Who of mail art includes such diverse sources as Dick Higgins, Bianca Jagger, Dana Atchley, The New York Corres-Sponge Dance School of Vancouver, Ray Johnson, John Cage, Fluxus, and Arturo Schwarz. This listing was influenced by Johnson's Bunny Lists and future mail art "name droppings." Pages of visual/textual material by Mancusi, Gaglione, Banana, and Friedman complete the work. Bibliozine #48 (June 1996) Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, e-mail art, fax, DIY culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. There a still a few remaining copies of Mail Art: An Annotated Bibliography (Scarecrow Press, 1991, 534 pages) available direct from the editor of Bibliozine. The price is $30. The Stamp Art Gallery has a new listing of their publications and boxed sets of rubber stamps. Catalogs for Yves Klein, Robert Watts, C. A. Cavellini, Joseph Beuys, M. B. Corbett, Andrej Tisma, Paulo Bruscky, and others involved in mail art, artistamps, and rubber stamps are available. Many of the catalogs contain essays by the editor of Bibliozine. For a free copy write to: The Stamp Art Gallery, 466 8th Street, SF, CA 94103. Moving into Nearness: On Tuesday, May 28th, The Fake Picabia Brothers (Picasso Gaglione and John Held, Jr.) traveled to New York City with their Production Assistant Diana Mars to host a publication party of Stamp Art Gallery publications at Printed Matter at DIA bookstore in Soho. Among those attending included persons associated with Fluxus (Dick Higgins, Jon Hendricks, Barbara Moore, Larry Miller, Sara Seagull), Mail Art (William S. Wilson, John Evans, Buster Cleveland, E. F. Higgins, Willie Marlowe, Gerard Barbot, Mark Bloch, Reed Altmus, Jonathan Stangroom, Joel Cohen), and Zinedom (Richard Kostelanetz, M. B. Corbett). In addition, Held met with Arman, the French Nouveau Realiste artist to discuss an upcoming Stamp Art Gallery exhibition. The following publications were obtained by the editor during the visit. FIA Group. L'Impossible Monthly. Belgrade, Serbia. 1993. Available from Printed Matter, 77 Wooster Street, New York, NY 10012. A folder containing twelve one-page issues of this monthly magazine devoted to Serbian photography. Each issue is devoted to a different photographer. The design mirrors the work of a Belgrade Surrealist group of the 1930's. Of special interest are the rubber stamps used on each issue. In Serbo-Croatian and English. Lupton, Ellen, and Cohen, Elaine Lustig. Letters from the Avant Garde. Princeton Architectural Press, New York, NY. 1996. 95 pages. How similar it all sounds. "A global network of avant-garde movements flourished during the first half of the twentieth century, connecting artists and designers across Europe and the United States. Written correspondence, presented on dramatically designed stationery, was a vital part of the infrastructure of this international community...Stationery for Futurism, Dada, De Stijl, the Bauhaus, and other groups and institutions served as typographic manifestos for the avant-garde." An important work for any precursory discussion of the latter Mail Art scene. Moore, Barbara. 8 Sheets/Reference. Bound and Unbound, New York, NY. 1996. A listing of "catalogues, documentation, artist's writings, and anthologies" available for sale through Bound and Unbound, a primary source of printed material on the recent avant-garde. Proprietor Barbara Moore was largely responsible for curating the exhibition, George Maciunas: More Than Fluxus, on view at the Ubu Gallery from May 4-June 22, 1996. Headings in this, her most recent catalog prepared for the College Art Association Conference, include Happenings and Fluxus; Artists' Books, Copy Art, Mail Art, Small Presses; Audio Art; Concrete and Visual Poetry; Conceptual and Minimal Art; Performance; Film and Video; and Political Art. William S. Wilson. Birthplace: Moving into Nearness. North Point Press, San Francisco, CA. 1982. 278 pages. I visited Wilson to research an exhibition on his mother, May Wilson, an early member of the New York Correspondence School. William was himself a close friend of the School's headmaster, Ray Johnson, and the has been the most incisive critic to examine his art to date. This novel is appropriately based on a series of letters exchanged by four generations of a family living in the Caribbean Sea. Johnson makes a brief appearance on page 257. Feigen, Richard L. Ray Johnson: A Memorial Exhibition. Richard L. Feigen & Co, New York. 1995. 16 pages. Picasso Gaglione, Diana Mars, and your editor, went to visit the gallery that is administering the papers of Ray Johnson, the founder of the New York Correspondence School. An archivist has been hired to catalog the contents of his estate in preparation for a retrospective exhibition not yet determined. We met with Francis Beatty, the Director of the Gallery, who also contributed an introduction to this catalog issued for the memorial exhibition held at the Feigen Gallery last year from April 27-June 16. One-hundred and twenty five works are listed in the checklist of works displayed.
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