MinXus Mail Bag: Utopian Worlds Mail-Art Call by Joey Patrickt (Oakland, California, USA)

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Mail-art by Joey Patrickt (Oakland, California, USA)

Dark wall swept the lawn and paraded the minks this morning in honor of receiving mail-art from another West Coast luminary: Joey Patrickt.

We have not been aggressive promoters of Joey’s chilled California meta-irony and unblinking aesthetic eye – that’s neither necessary nor appropriate – but we have been big fans for some time. We are thrilled to include his work here on our humble blog, and we are already looking forward to more in the future.

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Joey also sent us a card announcing his Utopian Worlds Mail-Art Exhibition. We encourage Tenderfoots to participate! Joey will certainly be receiving a Mink Ranch entry.

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Please note the deadline is December 31, 2014!

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Many thanks to Joey Patrickt for the great mail-art and news of the exhibition.

MinXus Mail Bag: Washington, DC Gutai Trashpo by WA Rodgers (Takoma Park, Maryland, USA)

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Mail-art by WA Rodgers (Takoma Park, Maryland, USA)

Many Tenderfoots will surely remember when WA Rodgers rocked the Eternal Network with her amazing Trashpo-Gutai synthesis. We do not recall any mail-art exchanges with her since those haughty salad days; however, we have managed to stay loosely connected with her via the aether. Then, suddenly, to our complete delight, we received this postcard-size work from WAR.

While compressed in comparison to her Gutai masterpiece of yore, this piece sparkles with the same brilliance and originality. Tenderfoots will note the “distressed” nature of the apparently found but contextually appropriate material. WA has not abandoned the Gutai aesthetic: decomposing art and text.

This Trashpo is situationist as well. Takoma Park is actually very close to Washington, DC. We think, technically, it might even be “inside the Beltway.” This missive led us to ponder the implications of a DKult Chapter in the capitol of the USA and to treasure even more this Washington, DC Trashpo.

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Many thanks to WA Rodgers for this thoughtful work!

MinXus Mail Bag: Mammoth Missive from Borderline Grafix (Part II) (Austin, Texas, USA)

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Mail-art by Borderline Grafix (Austin, Texas, USA)

In an earlier posting, we announced the need for a three-part series to share a mammoth mailing received from Borderline Grafix. The first focused on his PhotoAsemic Landscapes, which received rave and fave responses from both our beloved Tenderfoots and members of the Academy of Mail-Art Nouveaux at EUOMA:

http://minxuslynxus2.wordpress.com/2014/10/03/minxus-mail-bag-photoasemic-landscapes-stamps-by-borderline-grafix-austin-texas-usa/

Part II presents an absolutely FAB, post-card size verbal visual work (above). Borderline Grafix has been doing work incorporating vispo, concrete poetry, asemics and other related forms. We are totally impressed with the results and thrilled to have hard copies for the archives. We also greatly appreciate this more conventional mail-art that is still entertainingly eccentric and cryptic in the increasingly recognizable BG style:

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Also included was a larger collage by Dadanautik (Bremen, Germany)(or at least we assume it is by Dadanautik):

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Dadanautik’s always interesting work can be found on most of the major mail-art blogs and while ultimately contemporary, we think some Tenderfoots who have been on the Long and Dusty Trail a few cycles will recognize a certain Old School quality. We definitely want to learn more.

As ever, thanks to Borderline Grafix. Part three of the series will present excerpts from a fascinating issue of Smile zine.

MinXus Mail Bag: “Prisoner of T.O.X.I.S.” by Diane Keys (Elgin, Illinois, USA)

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Mail-art by Diane Keys (Elgin, Illinois, USA)

In September what proved to be a brief and uneventful hiatus from online activity and the network by DVS prompted the Queen of Trash to unleash a DKult dragnet, as she seems to have been convinced of a new and sinister T.O.X.I.S. conspiracy. While concerns were unfounded, it produced some D-Klassic mail-art:

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The irony is that DVS has made so many public allegations about others being held hostage and re-programmed for obscure plots in a fabled “Mexican clinic” that, depending on which version of the story you encounter, is run by T.O.X.I.S., Neoists or both. In addition to these two remarkable, approximately 8.5 x 11 inch panels above, the envelope contained a generous sampling of authentic trash from Elgin, the dream of many a Kulter:

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And even more presented to you here as a spontaneous scannerbed composition:

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All this came in a wonderfully decorated envelope:

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The reverse:

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Many thanks to DK for the concern. Will the complete truth of what happened during those weeks in September 2014 eventually be revealed? Perhaps. Perhaps there is little to report that would not be mundane or boring. Or perhaps, for now: “You want the truth? You can’t handle the truth” because “The truth is ‘out there.'”

New DKULTNY promo-prop (promotional propaganda): “DKult – It’s the new scientology.”

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MinXus Mail Bag: Otherstream by Keith S. Chambers (Amalgamated Confusion) (Anaheim, California, USA)

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Mail-art by Keith S. Chambers (Anaheim, California, USA)

Keith S. Chambers has recently been circulating some very interesting and engaging, text-centered correspondence. We are very happy to share a piece he sent us that we have not seen elsewhere. An IUOMA discussion arose about Keith S. Chamber’s recent missives, and we proposed these pieces emerge from the Otherstream (or show that influence anyway): A term popularized by Bob Grumman (Florida, USA) to describe a kind of experimental writing associated with the Eternal Network, Otherstream, of course, varies from author to author but it seems grounded in DaDa and has also acquired through the passage of time elements of surrealism, pomo, Fluxus and many other avant ties. Otherstream is rife with irony, absurdism and humor; historically, it has run concurrent with L=A=N=G=U=A=G=E but does not adhere to that group’s theories or methodologies. Many mail-artists, often without even knowing it, drift into Otherstream discourse due to its prevalence in the network. Ray Johnson’s writing has also likely had a large influence.

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Many thanks to Keith S. Chambers!

Recombinant vispo: Variations on Cheryl Penn’s “Babel” by Ficus strangulensis

Visual poet Ficus strangulensis (West Virginia, USA) has been experimenting with fractals and digital vispo, sharing the results at the IUOMA. Recently his work with material from Cheryl Penn’s (Kwa Zulu Natal, South Africa) book Babel (Tonerworks 2013) caught our attention. Due to the organic-structural nature of these explorations, this might be called recombinant vispo; asemics are present as well. We believe the thoughtful exploration of Cheryl Penn’s work by Ficus with software opens interesting possibilities for concrete and visual poetry.

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Much of the work in Babel is text-based with strong visual art elements. Recombination into essentially geometric structures creates an interesting evolution of classic concrete poetry.

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Ficus strangulensis variations on vispo by Cheryl Penn.

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More info on Babel:

http://cherylpenn.com/wpb/?p=2468

(Deepest thanks to Ficus strangulensis for granting permission to repost these images.)

The Lomholt Mail Art Archive: A FAB resource

Thanks to Sinclair Scripa, we have discovered the Lomholt Mail Art Archive, which presents a spectacular collection of material, mostly from the 1970s and 80s. This is an incredible snapshot in time of a particularly exciting era in mail-art history (actually several eras and a number of different networks).

http://www.lomholtmailartarchive.dk/

The Correspondence A-Z section has a fantastic holding of works by Crozier, Ackerman, Zack, Kantor and associated artists. Work by David Zack is not easy to find, and the Lomholt archive gives tremendous insight into the early days of Neoism, even if work by Ray Johnson and his circle and Fluxus are lacking.

The Mail Art Network section is even more impressive, delving back further into the 70s and presenting scans of entire books and zines. Some great work by John M. Bennett is in there. Generationally, collective network memory does not go much further back than the 80s these days. Anyone who has dug into collections knows the 70s (and 60s for that matter) were fascinating times as well. The network’s connection to “serious” conceptual art and experimental writing as well as intellectual currents and theory (such as semiotics) are apparent in the Lomholt archive.

We think it is well worth spending some time there and rediscovering what others have done.

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