There are a lot of basic questions on Mail Art that are often asked and answered. This group might be the first place to look for answers. I will do my best to answer, but hope that other members can help out as well.
I think it DOES have a function. There are a set of initial questions that pople new to IUOMA (like me) have. They are very basic -- like what is Mail Art? What is an ATC? Newcomers will always have those sorts of questions, while 'Oldies' and 'Veterans' wont. But above all it is very reassuring to know that Ruud is the, well sort of IUOMA Wikipeadia -- ask him a question and you will get an answerbased on his considerable and unique experience, come what may. Keep up the good work, Ruud! Regards, Val
I Googled a while back and tried to find out postage rates from country to country within Europe, but couldn't find the cross-national matrix that I was looking for. It might not exist, and if that is the case then it will be necessary to assemble this info on a country-by-country basis -- which shouldn't be too difficult as most countries are covered by IUOMA.
From France, there are 3 postal rates:i) internal @ €0.58, ii) to Europe, @ € 0.75, iii) to the rest of the world, @ € 0.87.
These rates are for standard size envelopes and postcards. For anything bigger, well then you have to go to La Poste where they weigh/measure whatever it you've got to send.
Regrads, Val
It resists definition; we both know that. But can we come up with a short way of defining it?
I would say that Fluxus is justifiably defined in very different ways, depending on when, where, and how people learn about it. That would be one non-answer--the Flux answer. Most Fluxus artists all over the world were doing Fluxus-like work before there was something called Fluxus. So if you were in Denmark, you learned this through Eric Andersen and his experience of Bewogen Beweging, or "Moving Movement," which was an historic kinetic art show from the 1960s. If you were in Germany, you found it among the students of Karlheinz Stockhausen and the Darmstadt circle--who were talking about serialism and experimental musical structure in a way that a student of Cage never would. If you're talking to one of the Japanese Fluxus artists, there's a good chance they met at the University of Tokyo, and had some relationship to Group Ongaku, which was another experimental musical group. Most of these scenes had some connection to music: some of the artists were training to be involved in music professionally, although most of them were actually discovering music as an "other"--a structure or practice distinct from forms more traditional to the art world, such as painting. Now, I'm the daughter of two New York Fluxus artists; Dick was in the historic John Cage composition class of 1958 at the New School for Social Research, which included most of the future practitioners of Fluxus in New York. For me, Fluxus is predominantly a social entity--it marked the need of a group of experimental artists to have a context, and they found each other in the Cage class. The "event," which is this Minimalist performance form where you have a simple instruction like "dripping" or "polishing"--some very reduced action--was invented in that class by George Brecht. George Maciunas first engaged with this group of artists in 1961 through his gallery, AG, on the Upper East Side of Manhattan; he later invented the Fluxus Kit, which were these objects for handling and using, and which I think of as a materialization of the event. He also gave concerts to La Monte Young and many key figures in the avant-garde, and began publishing Fluxus scores and objects. So my definition comes from that New York context, which actually allows one to say quite a lot about Fluxus. But a definition of Fluxus should always hinge on the position from which your practitioner, writer, or thinker speaks about it.
Dick Higgins, 60, Innovator in the 1960s Avant Garde
By Roberta Smith
Dick Higgins, a writer, poet, artist, composer and publisher who was a seminal figure in Happenings and the concrete poetry movement and a co founder of the anti authoritarian Fluxus movement in the early 1960s, died on Sunday while visiting Quebec City. He was 60 and lived in New York City and in Barrytown, N.Y.
The cause of death was a heart attack, his family said. He was staying at a private home in Quebec City while attending a colloquium on "Art Action, 1958 1998" at a performance space named Le Lieu.
Higgins, who invented the term "intermedia," had a long list of achievements, most of which he enumerated in a carefully maintained curriculum vitae that ran to 47
pages. Its table of contents listed such headings as Visual Art, Movies and Videotapes, Music and Sound Art and "Selected Discussions of Dick Higgins," one category of which was "articles, or interesting reviews."
The bibliography reflected a polymorphic involvement with language, literature and books. It included books of theoretical essays, plays, poems, word scores, musical scores, graphic music notions and performance piece instructions.
Titles could be strange: "foew&ombwhnw," a 1969 book of essays, is an acronym for "freaked out electronic wizard and other marvelous bartenders who have no wings."
This volume was a characteristic combination of the traditional and the iconoclastic: while its pages featured columns of word scores, visual poetry and essays that ran vertically from spread to spread, the volume was bound like a prayer book, in leather, with a ribbon bookmark.
Most of Higgins' books were published by companies that he founded, funded and ran himself, the best known being Something Else Press. During its brief life span (1964 1975) it published books and pamphlets by avant garde writers and artists of several generations, including Gertrude Stein, Richard Hulsenbeck, Merce Cunningham, John Cage, Emmett Williams, Claes Oldenburg, the Futurist painter Luigi Russolo and the 17th century poet George Herbert, whose pattern poems
Higgins considered a precedent for concrete poetry.
As his books were extremely well made and Higgins was prone to order reprintings on the slightest excuse, many Something Else titles are still in print.
Higgins was born in 1938 in Cambridge, England, the son of a wealthy family that owned Wooster Press Steel in Wooster, Mass. He was educated at several New England boarding schools, attended Yale University and received a bachelor's degree in English from Columbia University in 1960.
He also studied at the Manhattan School of Printing, attended John Cage's influential course on music composition at the New School and studied with the avant garde composer Henry Cowell.
By the late 1950s, Higgins was working for a book manufacturer while immersing himself in the flourishing New York art scene, where the increasing dissolution of boundaries between traditional art media fit his sensibility. He was interested in anything that was new and within a short time seemed to know nearly everyone moving in that direction.
With Allan Kaprow and others he planned and performed in the first Happenings. With George Macunius, he established the loosely knit group known as Fluxus, which accepted any activity as art and played fast and loose with definitions.
Thus Higgins' musical composition "Dangerous Music No. 17" of 1963 consisted of Higgins' wife, the poet Alison Knowles, shaving his head. "Dangerous Music No. 2," which Higgins had performed on Sunday at the colloquium in Quebec City, involved screaming as loudly as possible for as long as possible.
In 1966, Higgins' essay "Intermedia" published in the first issue of the Something Else Newsletter drew on his experiences with Happenings, Fluxus, concrete poetry and performance art. It formulated the concept of works of art that combined different forms film and dance, painting and sculpture that are today often referred to as multimedia installation art.
In addition to Ms. Knowles, whom he married in 1960, divorced in 1970 and remarried in 1984, Higgins is survived by their twin daughters, Hannah, of Chicago and Jessica, of New York; a sister, Lisa Null of Washington; a granddaughter, and his stepfather, Nicholas Doman of New York.
The Universal Postal Union celebrates World Postal Day on 9 October each year (see below). Does IUOMA have a similiar day commemorating...its founding (sometime in August 1988)?
If so, when is it please?
If there's not such a day, should we have one?
Regards Val
****************
"World Post Day is celebrated each year on 9 October, the anniversary of the establishment of the Universal Postal Union (UPU) in 1874 in the Swiss capital, Bern. It was declared World Post Day by the UPU Congress held in Tokyo, Japan, in 1969.
The purpose of World Post Day is to create awareness of the role of the postal sector in people’s and businesses’ everyday lives and its contribution to the social and economic development of countries. The celebration encourages member countries to undertake programme activities aimed at generating a broader awareness of their Post’s role and activities among the public and media on a national scale.
Every year, more than 150 countries celebrate World Post Day in a variety of ways. In certain countries, World Post Day is observed as a working holiday. Many Posts use the event to introduce or promote new postal products and services. Some Posts also use World Post Day to reward their employees for good service.
In many countries, philatelic exhibitions are organized and new stamps and date cancellation marks are issued. Other activities include the display of World Post Day posters in post offices and other public places, open days at post offices, mail centers and postal museums, the holding of conferences, seminars and workshops, as well as cultural, sport and other recreational activities. Many postal administrations issue special souvenirs such as T-shirts and badges."
IUOMA membership card (paqge 11 of 1988-2008 Overview book): could the General-President send me one please -- and I will carefully place it inside the book? Thankyou
Rubber stamps: details of a recommended site in the US were circulated -- in California, i think -- bit I can't find it now (of course). I was going to oreder 2 rubber stamps for a combined cost of about $12, but I didn't because postage was an extra $17, and i thought this was excessive. Question: is there a good supplier of rubber stamps in Europe? Regards, Val
IUOMA badge -- I want one to put on my website, but I'm not -- and never ever will be -- into My Spave or Facebook, so how, in very simple terms please, can I get hold of a badge? Regards, Val
IOUMA Membership Form (page 44 of 1988-2008 book, point 6). Does this still exist, and if so where can I find it to print out and get the General-president to sign it? Regards, Val
and why are my words jumping all over and it is posting when I haven't finished my comment???? Look at this mess! Also, I posted an image and it showed only a tiny area of it, I had to scroll and scroll and scroll to see if the iimage is "whole" before I hit "add comment"!
Dang, and now I cannot scroll up ...ah, it has just jumped up again.
Internet has its faults too. When the connections have a 'problem' the results of the screen can become 'real art' or sometimes 'complete frustration'.....
:-) Art it taint...but it has stopped jumping. The new format for the comments window allows us to see the image but still in only small segments. Guess that is how it is. Not a problem.
Bonjour! I would like to 'Ask Anything' the following question: What are the largest and smallest sizes of postcards that can be sent -- and, of course, accepted by the postal services -- for Mail Art purposes?
It seems that the US Postal Service sets minimum and maximum sizes that seem to be pretty universally accepted: the minimum size is 3 1/2 x 5 inches (90 x 127 cms), the maximum 4 1/4 x 6 inches (108 x152). Exceed the maximum size and there is a higher postal tariff -- but this is of no concern to me sending Mail Art from France as it goes at the higher international tariif anyway.
The Royal Mail in the UK defines a postcard at the largest size of a standard letter, 161 x 240 cms. Exceed this and you must pay more.
The issue would seem straightforward BUT -- living in the world of IOUMA -- I've received some quite smaller and much larger postcards than those determined by USPS and Royal Mail regulations.
Of course, the larger the postcard, the bigger the 'canvas' I have to work on. But small can be beautiful, too.
There is a "dot" for that standard US and Royal mail in centimeters? 9.0 x 12.7 cms and 10.8 x 15.2 cms seems pretty standard for Greek, Hellenic Post, too.
Postcards were 10 x 15 cm and fit nicely into my standard air mail envelopes: 11 x 16 cm with no extra charge up to 20 grms weight. Now, however, tourist postcards have increased in size: 12 x 17 cm and are sent for standard postage outside an envelope.
Merci Katerina, and yes I am "dotty", and yes, there should have been dots. If the size of a postcard seems to be determined by its weight, then is there any reason why I couldn't send, say, a large piece cut from a cardboard box? I wonder if it would be treated as 'letter post' 'large letter post' or even 'parcel post'?
Thanks Lisa and Ruud, My latest effort to automail a large (10 x 4 inch/ 25 x 10 cms) card resulted in the postman folding it in half and stuffing it in my post box. Sad!
My luck with displaying the IUOMA badge at our studio's blog was not good. Can you help? I've actually begun a discussion on that very topic.
It wandered here and there. It even "hopped" once. Very strange. Or would it be a planned feature, as in, Kurt Scwitters meets Samuel Calder and half the dadaists on the planet? :)
I'm going to ask the most basic question of all - where do I start? Is it creepy to just send something to a random person on here, or should I just sit around and wait for someone to mail to me, because I'm new...? It's all a bit like going on a first date....
I basically send to a lot of new people completely out of the blue. The problem with doing this is you rarely get anything back. I probably send at least two or three times the amount of stuff out, that I get back.
Just send...maybe send to people that frequently post.
By the way, if you send something to me I will get right back to you.
Mail-Art is 'guilt free' as they call it. When you send someting do not expect an answer. When you receive something, only reply when you want to. For mail-art projects, the basic unwritten rules apply.
There is no guideline on how to start. Only senders are receivers, but it sometimes takes time. The mail-artists most promently in view might not have all the time to answer.
Mail-Art is not an exchange club. You send out because you want to. Others do the same.
My advice: just start sending out and don't expect anything back. The surprise when getting somethign back will be all that more. I started like that in 1980.
Katerina Nikoltsou (MomKat)
This is going to be a great group, thanks, Ruud.
Ruud's mail art next to Katerina's mail art at Thessaloniki exhibit:"Human, Colours, Music" Nov 2, 2010
Nov 3, 2010
Ruud Janssen
Nov 17, 2010
Valentine Mark Herman
Nov 17, 2010
Valentine Mark Herman
From France, there are 3 postal rates:i) internal @ €0.58, ii) to Europe, @ € 0.75, iii) to the rest of the world, @ € 0.87.
These rates are for standard size envelopes and postcards. For anything bigger, well then you have to go to La Poste where they weigh/measure whatever it you've got to send.
Regrads, Val
Nov 19, 2010
Ruud Janssen
Nov 19, 2010
Ruud Janssen
withi IUOMA : search window in upper corner right
Via Google : Yes
Elsewhere : Yes, the IUOMA network is indexed by searchengines. Only members can add informations.
Nov 19, 2010
DKeys
Nov 21, 2010
Ruud Janssen
I would say that Fluxus is justifiably defined in very different ways, depending on when, where, and how people learn about it. That would be one non-answer--the Flux answer. Most Fluxus artists all over the world were doing Fluxus-like work before there was something called Fluxus. So if you were in Denmark, you learned this through Eric Andersen and his experience of Bewogen Beweging, or "Moving Movement," which was an historic kinetic art show from the 1960s. If you were in Germany, you found it among the students of Karlheinz Stockhausen and the Darmstadt circle--who were talking about serialism and experimental musical structure in a way that a student of Cage never would. If you're talking to one of the Japanese Fluxus artists, there's a good chance they met at the University of Tokyo, and had some relationship to Group Ongaku, which was another experimental musical group. Most of these scenes had some connection to music: some of the artists were training to be involved in music professionally, although most of them were actually discovering music as an "other"--a structure or practice distinct from forms more traditional to the art world, such as painting. Now, I'm the daughter of two New York Fluxus artists; Dick was in the historic John Cage composition class of 1958 at the New School for Social Research, which included most of the future practitioners of Fluxus in New York. For me, Fluxus is predominantly a social entity--it marked the need of a group of experimental artists to have a context, and they found each other in the Cage class. The "event," which is this Minimalist performance form where you have a simple instruction like "dripping" or "polishing"--some very reduced action--was invented in that class by George Brecht. George Maciunas first engaged with this group of artists in 1961 through his gallery, AG, on the Upper East Side of Manhattan; he later invented the Fluxus Kit, which were these objects for handling and using, and which I think of as a materialization of the event. He also gave concerts to La Monte Young and many key figures in the avant-garde, and began publishing Fluxus scores and objects. So my definition comes from that New York context, which actually allows one to say quite a lot about Fluxus. But a definition of Fluxus should always hinge on the position from which your practitioner, writer, or thinker speaks about it.
source: http://mouthtomouthmag.com/higgins.html
Nov 21, 2010
Ruud Janssen
Nov 21, 2010
DKeys
Nov 21, 2010
Rain Rien Nevermind
I'll ask again... What ever happened to Dick Higgins, again ?
Asking isn't near as FUN as FUN Da Mental Mail Art.
Nov 21, 2010
Ruud Janssen
October 31, 1998
Dick Higgins, 60, Innovator in the 1960s Avant Garde
By Roberta Smith
Dick Higgins, a writer, poet, artist, composer and publisher who was a seminal figure in Happenings and the concrete poetry movement and a co founder of the anti authoritarian Fluxus movement in the early 1960s, died on Sunday while visiting Quebec City. He was 60 and lived in New York City and in Barrytown, N.Y.
The cause of death was a heart attack, his family said. He was staying at a private home in Quebec City while attending a colloquium on "Art Action, 1958 1998" at a performance space named Le Lieu.
Higgins, who invented the term "intermedia," had a long list of achievements, most of which he enumerated in a carefully maintained curriculum vitae that ran to 47
pages. Its table of contents listed such headings as Visual Art, Movies and Videotapes, Music and Sound Art and "Selected Discussions of Dick Higgins," one category of which was "articles, or interesting reviews."
The bibliography reflected a polymorphic involvement with language, literature and books. It included books of theoretical essays, plays, poems, word scores, musical scores, graphic music notions and performance piece instructions.
Titles could be strange: "foew&ombwhnw," a 1969 book of essays, is an acronym for "freaked out electronic wizard and other marvelous bartenders who have no wings."
This volume was a characteristic combination of the traditional and the iconoclastic: while its pages featured columns of word scores, visual poetry and essays that ran vertically from spread to spread, the volume was bound like a prayer book, in leather, with a ribbon bookmark.
Most of Higgins' books were published by companies that he founded, funded and ran himself, the best known being Something Else Press. During its brief life span (1964 1975) it published books and pamphlets by avant garde writers and artists of several generations, including Gertrude Stein, Richard Hulsenbeck, Merce Cunningham, John Cage, Emmett Williams, Claes Oldenburg, the Futurist painter Luigi Russolo and the 17th century poet George Herbert, whose pattern poems
Higgins considered a precedent for concrete poetry.
As his books were extremely well made and Higgins was prone to order reprintings on the slightest excuse, many Something Else titles are still in print.
Higgins was born in 1938 in Cambridge, England, the son of a wealthy family that owned Wooster Press Steel in Wooster, Mass. He was educated at several New England boarding schools, attended Yale University and received a bachelor's degree in English from Columbia University in 1960.
He also studied at the Manhattan School of Printing, attended John Cage's influential course on music composition at the New School and studied with the avant garde composer Henry Cowell.
By the late 1950s, Higgins was working for a book manufacturer while immersing himself in the flourishing New York art scene, where the increasing dissolution of boundaries between traditional art media fit his sensibility. He was interested in anything that was new and within a short time seemed to know nearly everyone moving in that direction.
With Allan Kaprow and others he planned and performed in the first Happenings. With George Macunius, he established the loosely knit group known as Fluxus, which accepted any activity as art and played fast and loose with definitions.
Thus Higgins' musical composition "Dangerous Music No. 17" of 1963 consisted of Higgins' wife, the poet Alison Knowles, shaving his head. "Dangerous Music No. 2," which Higgins had performed on Sunday at the colloquium in Quebec City, involved screaming as loudly as possible for as long as possible.
In 1966, Higgins' essay "Intermedia" published in the first issue of the Something Else Newsletter drew on his experiences with Happenings, Fluxus, concrete poetry and performance art. It formulated the concept of works of art that combined different forms film and dance, painting and sculpture that are today often referred to as multimedia installation art.
In addition to Ms. Knowles, whom he married in 1960, divorced in 1970 and remarried in 1984, Higgins is survived by their twin daughters, Hannah, of Chicago and Jessica, of New York; a sister, Lisa Null of Washington; a granddaughter, and his stepfather, Nicholas Doman of New York.
Nov 22, 2010
Rain Rien Nevermind
Excuse me I have a cough,... Whatever happened to Ed Weird go Lick Off ? Asking is FUN da MENTAL to MAIL ART.
Nov 22, 2010
Rain Rien Nevermind
A. B.ook A.bout Y.our M.other's P.otato M.asher wants to know ::
What ever happened to Ed Plunkett
who invented NYCS and Nyc-Nyc Jokes ?
.... I knew Ray Johnson in REAL LIFE
When he was doing his Mother's Potato Mashers
EVERY Mother had a different Potato Masher and
yet their Potatos all LO0ked pretty much MATCHED
Nyc-Nyc
Who's There ?
Your Mother's Potato Masher
Your Mother's Potato Masher Who's Who
Love, Marcel Duchamp's Mother's Potato Masher Cloaked Joke Book
Nov 22, 2010
cheryl penn
Nov 22, 2010
Valentine Mark Herman
If so, when is it please?
If there's not such a day, should we have one?
Regards Val
****************
"World Post Day is celebrated each year on 9 October, the anniversary of the establishment of the Universal Postal Union (UPU) in 1874 in the Swiss capital, Bern. It was declared World Post Day by the UPU Congress held in Tokyo, Japan, in 1969.
The purpose of World Post Day is to create awareness of the role of the postal sector in people’s and businesses’ everyday lives and its contribution to the social and economic development of countries. The celebration encourages member countries to undertake programme activities aimed at generating a broader awareness of their Post’s role and activities among the public and media on a national scale.
Every year, more than 150 countries celebrate World Post Day in a variety of ways. In certain countries, World Post Day is observed as a working holiday. Many Posts use the event to introduce or promote new postal products and services. Some Posts also use World Post Day to reward their employees for good service.
In many countries, philatelic exhibitions are organized and new stamps and date cancellation marks are issued. Other activities include the display of World Post Day posters in post offices and other public places, open days at post offices, mail centers and postal museums, the holding of conferences, seminars and workshops, as well as cultural, sport and other recreational activities. Many postal administrations issue special souvenirs such as T-shirts and badges."
Nov 22, 2010
Valentine Mark Herman
Nov 22, 2010
Valentine Mark Herman
Nov 22, 2010
Valentine Mark Herman
Nov 22, 2010
Valentine Mark Herman
Nov 22, 2010
Valentine Mark Herman
Nov 22, 2010
Ruud Janssen
Nov 23, 2010
Ruud Janssen
Image for DIN A4
Nov 23, 2010
Poison Label Productions
Nov 23, 2010
FELIPE LAMADRID
Nov 23, 2010
Valentine Mark Herman
Nov 23, 2010
Poison Label Productions
you must print the form - sign it & send it to him...
you should also wait until the new member card happens in Jan...
Nov 23, 2010
Ruud Janssen
Dec 3, 2010
Katerina Nikoltsou (MomKat)
AACK! Ruud...is this a new comment window?
and why are my words jumping all over and it is posting when I haven't finished my comment???? Look at this mess! Also, I posted an image and it showed only a tiny area of it, I had to scroll and scroll and scroll to see if the iimage is "whole" before I hit "add comment"!
Dang, and now I cannot scroll up ...ah, it has just jumped up again.
What's the secret to controlling this?
Dec 9, 2010
Ruud Janssen
Internet has its faults too. When the connections have a 'problem' the results of the screen can become 'real art' or sometimes 'complete frustration'.....
Ruud
Dec 10, 2010
Katerina Nikoltsou (MomKat)
:-) Art it taint...but it has stopped jumping. The new format for the comments window allows us to see the image but still in only small segments. Guess that is how it is. Not a problem.
Dec 10, 2010
Natasha Jabre
Where do you get transparent envelopes?
Dec 12, 2010
Ruud Janssen
Dec 22, 2010
Valentine Mark Herman
Bonjour! I would like to 'Ask Anything' the following question: What are the largest and smallest sizes of postcards that can be sent -- and, of course, accepted by the postal services -- for Mail Art purposes?
It seems that the US Postal Service sets minimum and maximum sizes that seem to be pretty universally accepted: the minimum size is 3 1/2 x 5 inches (90 x 127 cms), the maximum 4 1/4 x 6 inches (108 x152). Exceed the maximum size and there is a higher postal tariff -- but this is of no concern to me sending Mail Art from France as it goes at the higher international tariif anyway.
The Royal Mail in the UK defines a postcard at the largest size of a standard letter, 161 x 240 cms. Exceed this and you must pay more.
The issue would seem straightforward BUT -- living in the world of IOUMA -- I've received some quite smaller and much larger postcards than those determined by USPS and Royal Mail regulations.
Of course, the larger the postcard, the bigger the 'canvas' I have to work on. But small can be beautiful, too.
Any guidance on this please?
Regards, Val
Dec 28, 2010
Katerina Nikoltsou (MomKat)
There is a "dot" for that standard US and Royal mail in centimeters? 9.0 x 12.7 cms and 10.8 x 15.2 cms seems pretty standard for Greek, Hellenic Post, too.
Postcards were 10 x 15 cm and fit nicely into my standard air mail envelopes: 11 x 16 cm with no extra charge up to 20 grms weight. Now, however, tourist postcards have increased in size: 12 x 17 cm and are sent for standard postage outside an envelope.
Dec 28, 2010
Valentine Mark Herman
Merci Katerina, and yes I am "dotty", and yes, there should have been dots. If the size of a postcard seems to be determined by its weight, then is there any reason why I couldn't send, say, a large piece cut from a cardboard box? I wonder if it would be treated as 'letter post' 'large letter post' or even 'parcel post'?
Regards, Val
Dec 28, 2010
Lisa Malmar
Dec 29, 2010
Ruud Janssen
Dec 29, 2010
Valentine Mark Herman
Dec 30, 2010
Ruud Janssen
Dec 30, 2010
Valentine Mark Herman
Good idea! Thanks. is this in the post to me?
Regards, Val
Dec 30, 2010
Ruud Janssen
Dec 30, 2010
Lisa Malmar
Val,
Wabi sabi, right? The beauty of the art lies in it's history so thank-you Mr. Postman!
Dec 30, 2010
Ruud Janssen
Feb 3, 2011
Plush Possum Studio-Rose McGuinn
My luck with displaying the IUOMA badge at our studio's blog was not good. Can you help? I've actually begun a discussion on that very topic.
It wandered here and there. It even "hopped" once. Very strange. Or would it be a planned feature, as in, Kurt Scwitters meets Samuel Calder and half the dadaists on the planet? :)
Rose
Feb 6, 2011
Ruud Janssen
Feb 18, 2011
Annie-Ada
I'm going to ask the most basic question of all - where do I start? Is it creepy to just send something to a random person on here, or should I just sit around and wait for someone to mail to me, because I'm new...? It's all a bit like going on a first date....
Mar 3, 2011
jon foster
I basically send to a lot of new people completely out of the blue. The problem with doing this is you rarely get anything back. I probably send at least two or three times the amount of stuff out, that I get back.
Just send...maybe send to people that frequently post.
By the way, if you send something to me I will get right back to you.
Mar 3, 2011
Ruud Janssen
Mail-Art is 'guilt free' as they call it. When you send someting do not expect an answer. When you receive something, only reply when you want to. For mail-art projects, the basic unwritten rules apply.
There is no guideline on how to start. Only senders are receivers, but it sometimes takes time. The mail-artists most promently in view might not have all the time to answer.
Mail-Art is not an exchange club. You send out because you want to. Others do the same.
Mar 3, 2011
Ruud Janssen
Mar 3, 2011