This exhibition showcases North American neo-conceptualist artists» responses to groundbreaking Gutai performances; original paintings, video, photographs, and ephemera from private collections; and an expansive collection
of Mail Art from more than 200 contemporary artists in 30 countries.
A
pioneer of Mail art in Brazil in the 60s, associated with Fluxus in the 70s, and influenced by the work of pioneers of the avant - garde such as Marcel Duchamp and John Cage; Bruscky's practice resists straightforward classifications, boldly combining visual and literary language to voice his artistic identity and position within society.
Tomorrow marks the dawn of a new era in mail art: Presents, Three
Months of Mail Art for Hyperallergic HQ an opening that promises booze AND epic results!
The exhibition, titled Presents: Three Months
of Mail Art for Hyperallergic HQ, will include mail art in the form of sculpture, installation, video and works on paper.
Famous Fluxus artists included the German hypermodernist Joseph Beuys (1921 - 86), the Japanese concept artist Yoko Ono (b. 1933), the collage artist and father
of mail art Ray Johnson (1927 - 95), the Swiss «Happenings» organizer Ben Vautier (b. 1935), the Romanian - Swiss sculptor Daniel Spoerri (b. 1930), plus noted exponents of film and video art such as the Korean - born Nam June Paik (1932 - 2011) and the German avant - gardist Wolf Vostell (1932 - 98).
Well - known for his contributions to Gutai and the
development of the mail art movement, Shimamoto's work has been included in a number of important exhibitions dedicated to Gutai, including at the Solomon R. Guggenheim Museum (New York), MOCA (Los Angeles) and the Jeu de Paume (Paris).
The artist is best - known for his contributions to the influential Gutai Art Group and the development
of the mail art movement.
For this intimate hourlong viewing and conversation, Held has selected several
examples of mail art that represent various aspects of the medium.
Artists readily exploited the fax machine for its graphic and interactive possibilities, positing the medium as a precursor to the then - nascent field of new media art and within the
legacy of mail art.
The exhibition showcases rediscovered production materials from Ray Johnson's
compendium of mail art and work by early Fluxus artist Dick Higgins.
Artist and curator Marshall Weber, who oversees Brooklyn Artist Alliance's collection of ephemera, observes, «The past decade has seen the
demise of mail art, exhibition catalogues, exhibition announcements, and political and gig posters... but the sticker, card, broadside, and flyer are on the rise.»
In between these two ways of making art we could also look at Paulo Bruscky (based in Recife), a world pioneer in the
field of mail art that invites the public to think about the limits of using images and text with lots of humour.
Endre Tót, a key
practitioner of Mail art, camouflaged his art in letterform in order to avoid the postal censorship of the time.
Over the course of their relationship Warner received hundred of
pieces of mail art from Johnson, ranging from collages to a hand - delivered piece of driftwood.
Come tomorrow, the days of tantalizing their readers with
posts of their mail art gifts online will close: The mail art show opens!
This in - depth, illustrated
study of mail art includes essays by leading artists and historians in the field, including Fluxus artists Ken Friedman, Dick Higgins, and Ray Johnson.
The exhibition also presents an impressive collection
of Mail Art elicited in response to the movement by over 200 contemporary artists from thirty countries.
There was an exhibition of artists» books by Sol LeWitt, a talk by Antoni Muntadas, an archival exhibition, and a discussion with the
members of the mail art collective from Istanbul KORIDOR (1988 — 1995).
The group actively promoted itself abroad through the
distribution of mail art and a well - circulated journal, and in 1958 prominent New York dealer Martha Jackson staged an exhibition of their work.
In 1970, Johnson and Marcia Tucker organized The New York Correspondence School Exhibition at the Whitney Museum in New York, which was the first significant public
exhibition of the mail art genre.
Yet, ideas that were prevalent from the
start of mail art have remained significant in artistic practice since: networking, access to information, free movement, distribution, participation, collaborative work procedures and sharing are at the core of the conceptual framework for this exhibition.
For many years the practice of using the post office services or fax machines as a strategy for creating and sharing graphic arts and other artistic projects has been at the
root of mail art; the advent of information technology has shifted parameters towards the digital realm.
In 1982, Shimamoto became
aware of Mail Art through Byron Black, an expatriate American living in Osaka.
Ray Johnson (1927 - 1995), an early conceptualist and
pioneer of mail art, ended his life by diving from the Sag Harbor - North Haven Bridge.
«A unique, stamped color postcard sent by Tacita Dean to Parkett, Dean's The Green Ray is a sweet
example of mail art and relational aesthetics.
Artists readily exploited its immediate, graphic, and interactive character, making it an important part of the history of telecommunications art, nestled between the
legacy of mail art and the nascent practices of new media.
This exhibition showcases North American, neo-conceptualist artists» responses to groundbreaking Gutai performances; dozens of paintings, original video, photographs, and ephemera from private collections; and an expansive
collection of Mail Art from more than 30 countries.
Pioneer
of mail art and an early participant in both the Pop and Fluxus movements, Ray Johnson created complex, punning works that ingeniously combine text and image, celebrity culture and art history, wit and melancholy.