Mail-Art Books

My Adress:

Ruud Janssen
P.O. Box 1055
4801 BB - BREDA
NETHERLANDS

Dear colleagues of the MA Book Group, I hope you will find enough information concerning purchasing of the catalogues and postcards:
http://www.rustelecom-museum.ru/publications/publicationslist.asp?C...

Dear Ruud, of course, I shall forward the example of the last catalogue to you by mail. I would be very much obliged if you comment briefly: was it interesting for you or not. And you see that our museum has one of the best annual exhibitions of MA in Russia.

Of course, dear, it can be so.
But I am sure that MA Books from the A.S.Popov Central Museum of Communications are also very cheep, informative and beautiful.

Do you have a short explanation of mailart?

Mail art is art which uses the postal system as a medium. The term mail art can refer to an individual message, the medium through which it is sent, or an artistic genre. Mail art is also known as postal art and is sometimes referred to as Correspondence/Mail Art (CMA).

Mail artists typically exchange ephemera in the form of illustrated letters, zines, rubberstamped, decorated or illustrated envelopes, artist trading cards, postcards, artistamps, faux postage, mail-interviews, naked mail, friendship books, decos, and three-dimensional objects.

An amorphous international mail art network, involving thousands of participants in over fifty countries, evolved between the 1950s and the 1990s. It was influenced by other movements, including Dada and Fluxus.

One theme in mail art is that of commerce-free exchange; early mail art was, in part, a snub of gallery art, juried shows, and exclusivity in art. A saying in the mail art movement is "senders receive", meaning that one must not expect mail art to be sent to oneself unless one is also actively participating in the movement.

Contents [hide]
1 History
1.1 Contrast to artist trading cards
2 Mail art communities
3 Well-known mail artists
4 References
5 External links


[edit] History
There is a rich history of creative examples sent through the post. The most familiar example is the illustrations on envelopes carrying first day issue postage stamps, which philatelists refer to as "first day covers", but mail art encompasses other decorated envelopes such as event covers, as well as a wide range of other procedures and media such as rubber stamps and artistamps. Mail art is traditionally, though not always, distinguished from simply "mailed art", which is art that does not truly use the postal service but is simply regular art that is sent through the mail.

Mail artists claim that mail art began when Cleopatra had herself delivered to Julius Caesar in a rolled-up carpet.[1] However, perhaps the initial genesis of mail art was in postal stationery, from which mail art is now typically distinguished (if not defined in its broadest sense). The first example of postal stationery was the pictorial design created by the English artist William Mulready (1786-1863) for mass printing-press reproduction on the first stock of prepaid postage wrappers or envelopes produced for the launch of the Penny Post in Britain in 1840. Mulready's design was not well received by the public, and various cartoonists and artists produced lampoon versions. However, it was recognized that an innovative and powerful communication adjunct piggybacking on the basic letterpost service had become available, and over the next 50 years or so, millions of pictorial envelopes with a wide variety of motifs and designs were processed by postal services worldwide.

As an art form, the early genre produced low- and high-minded works ranging from the comic and satirical through commercial and industrial advertising to the promotion of social causes such as fair trade, world peace and brotherhood, and the abolition of slavery. Examples exist of pictorial propaganda envelopes with patriotic motifs produced by both sides during the American Civil War.

The enthusiastic use of this piggyback medium continued throughout the second half of the 19th century, until postal administrations worldwide began to authorize the use of picture postcards, which were first approved and offered for sale at all post offices in Austria-Hungary on October 1, 1869.

This was the beginning of the end of the heyday of the pictorial envelope. Producing a card with an illustration on it, whether executed by hand or by a mechanical printing process, is less involved than producing it on an envelope. A card is flat and usually rectangular like a canvas; an envelope starts out flat, but the sheet from which it is formed has to be shaped and then folded. The extra difficulty that producing multiple printed envelopes entails eventually led to the establishment of the commercial envelope printing and overprinting industry, which, like commercial envelope manufacture, is perforce an economy-of-scale activity, which means it is at its most economically efficient when the print run is very long.

This was the situation prevailing until the advent of digital electronics in the late 1960s and early 1970s. The convergence of this technology with telephone technology led to the development of the social-change engine known as the Internet by the early 1990s, so that by the end of the 20th century, it had become increasingly common to find households with a digital computer and a sheet printer. By employing suitable software, the printer could be used to customise machine-made envelopes, each with a unique composition of colorful digitised text and graphics.

In principle, this meant that even the most graphically challenged could employ the pictorial or illustrated envelope medium and produce a work categorizable as mail art. (However, producing printed envelopes from the sizes of sheet processed by sheet printers does not obviate the tedious cutting out of the appropriate shape (see Envelope manufacture) or the production of awkwardly shaped waste offcuts.As much as 30% of an ISO standard-size A4 sheet can be wasted if producing an ISO standard-size C6 envelope from it). In addition,a machine-made envelope (i.e. a folded and gummed sheet of paper with a loose flap)does not behave like a flat sheet of paper does in a printer. Hence the illustrative content has to be restricted to the front (or face) of the envelope; in contrast a hand-illustrated envelope, even though machine-made, can have illustrative material on the back (or flaps) side

Standard sizes preferred by the postal authorities are relevant, because some works, whether or not produced with the aid of a computer, might be constructed with postal distribution in mind; others might make use of the postal service to facilitate a collaboration or work of correspondence art between artists.

[edit] Contrast to artist trading cards
There are similarities between mail art and artist trading cards (ATCs) as well as a distinctive difference. What is unique about the concept of ATCs is trading, specifically face-to-face trading. If ATCs are sent in the mail, they become yet another variation of CMA, but, once one attends a trading session, "the cards come to life".

There is no difference in a formal sense between ATCs and CMA—that is, in both cases, they incorporate the full range of art media and disciplines; they are not a formal innovation such as Cubism. Conceptually ATCs are extremely close to CMA; they are both about exchanging art without the interface of the art world and without money being involved. Except for the concept of the trading session, the two activities could be, for all intents and purposes, the same.

[edit] Mail art communities
When the electronic telecommunications network known as the Internet gave rise to e-mail art, conventional mail artists came to refer to the international postal service as the paper net or snail-mail net. When a group of these artists are in some way linked through their works, they are collectively referred to as a Mail Art Network. The mail-art community has been referred to as the Eternal Network since the 1980s (or possibly even earlier) and predates the time when access to the Internet became widespread.

The Mail-Art Network concept has roots in the work of earlier groups, including the Fluxus artists and the notion of multiples, or artworks manufactured as editions. Most commonly, Mail-Art Network artists have made and exchanged postcards, designed custom-made stamps, or artistamps, and designed, decorated or illustrated envelopes. Even large and unwieldy three-dimensional objects have been known to have been sent by Mail-Art Network artists, for many of whom the message and the medium are synonymous.

Fundamentally, mail art in the context of a Mail Art Network is a form of conceptual art. It is a movement with no membership and no leaders.

The International Union of Mail Artists (see IUOMA external link) is a group of mail artists individually practicing in several countries. The IUOMA started in 1988 and now has their own online forum. Anyone can join just by saying so; in this way, the group is merely unified conceptually.

Early online server Prodigy had a large group of artists networking online and through the postal system to create and experience mail art in 1990. Many were hesitant to call themselves artists but were encouraged and educated by arto posto (Dorothy Harris) as they ventured into mail art. Mail artists were among the first to see and use the networking possibilities of the World Wide Web when it appeared in 1992 to bring graphics to the previously text-oriented Internet. At the same time, the Internet offered nothing new to them (as it is certainly not possible to send objects over the Internet without ubiquitous 3D printing). Mail artists, like graffiti and poster artists, often work anonymously or collectively under aliases. Artist trading cards, or ATCs, can also be sent by mail and are actively traded by many mail artists.

Nervousness.org is an organization of artists who create LMAOs, or Land Mail Art Objects, which are then swapped by post. The Snail Mail World Postcard Art Show in Canada is one of the largest of its kind, drawing in up to 1000 entries each year.

It is believed that some of the largest mail art projects are:

Ryosuke Cohen's Brain Cell project, started in 1985. As of 2007, more than 600 issues have been created, with new issues every eight to ten days.
Robin Crozier's Memo(random)/Memo(ry) project, started in the early 1980s.
The TAM Rubberstamp Archive by Ruud Janssen, started in 1983, in which he sends out standard sheets to document the use of rubber stamps in the mail-art network.
Fluxus Bucks started in 1994 by ex posto facto in Garland, Texas, USA. Thousands of Fluxus Bucks are still being collected and circulated with documentation that acts as a networking tool (2006).
Mail-Art Across the World, a co-associative project between several European countries, proposes to combine the mail-art and classical calligraphy, a natural vector for writing addresses. They offer online galleries, then, after collecting all mail-arts (more than 400 per edition), this exhibition travels in European cities .

source: http://en.wikipedia.org/wiki/Mail_art

Thank you, very clear and short!:)))

The way to buy catalogues in the A.S.Popov Central Museum of Communications::
rustelecom-museum.ru>"publications">catalogues
You are welcome

Ruud, I have sent a new catalogue of "Mailartissimo-2009" dedicated to the personal chapter of Michael Shengelia from the exhibition to you. Confirm when receive, please.

Above a reaction to the question of Lyucinda's question.....

Yes, Lyucinda, will confirm arrival and will document the sending. Thanks so much for keeping the TAM-Archive up-to-date.

Ruud

Yes, know the book "Correspondence Art". I ordered it when it came out in 1986. Because of the good research they did, the book is valuable, but I remember that some mail-artists were not included in the book because the networks sometimes don't know each other. Lots of interesting details in the book though.

Show at the Queens Library Gallery in NY. (some of my work hung there too)

The Fluxus event is a very prestigious and important event for the development of the modern arts. Congratulations for your participation and being mentioned in the NY Media. You are very active and talented, that means alive. Good luck to move ahead!

Yes, I have the explanation for myself and for those whom I invite to take place in our Annual Exhibitions “Maiartissimo”. I try to do it as short as it is possible. Something like these:
"Mailart is the Piece of Art sent and received by Mail". “Mailart is the art of tangible communication in our Epoch of Information and Globalization, having been marked by the marks of the postage payment during it traveling by mail”. Mailart is the democratic art, expressing a personal opinion on the common topics, and the real piece went through the post belongs to the addressee, not to the addresser.

Wonderful 1st April joke-definition, Lyucinda! Please, don't ever think to ask serious questions here... Вы не найдете строгих определений среди надписей на заборе...

Спасибо за советы, но я бы не стала слишком усложнять этот вопрос. Каждый находит какие-то свои направления развития творчества в зависимости от целей, стоящих перед ним. Я уважаю Ваше творчество, размышления и выводы. Не стоило бы иронизировать над моими. Статью Вашу в журнале "Почтовая связь.Техника и технологии" получила вместе с журналом из издательства. Большая! Буду читать.

Да... А я еще не получил. Людмила Николаевна, а где ж иронизировать, если не здесь? А про вопросы ваши... Они слишком серьезны для этой площадки... Надо дискутировать где-то в другом месте... Возможно, Вы в курсе большой дискуссии как раз по этому вопросу у Михаила Погарского в ЖЖ... Ну а ежели действительно хотите разобраться - надо статьи читать всякие, диссертации, словари... Конкретно же Ваши проекты я критиковал и критиковать буду. И дело не в моих личных неприязнях.
То, что Вы делаете под маркой мэйл-арта, не делают нигде, ни в одной стране - среди многих тысяч выставок мэйл-арта за 40 лет никто не водит людей за нос, вписывая левых художников в это альтернативное движение как Вы это сделали с Флоренскими или с этим грузинским художником. Если бы у нас был нормальный арт-рынок с критиками, кураторами, искусствоведами и т.п., то подобные проекты были бы просто невозможны. Вы просто пользуетесь всеобщей неграмотностью в вопросах совриска у публики. К несчастью, понимают это у нас очень немногие.

Моя точка зрения Вам безусловно известна - я озвучивал ее на всевозможных площадках - от ЖЖ до международных филологических конференций.

Спасибо, Юрий, за ответ. Я, честно говоря, предполагала, что наш куратор Светлана Серебрякова, старший научный сотрудник, должна была бы детально разбираться в научной стороне вопроса!?! Но видно придётся мне, с позиций технического музея и его приоритетов.
А также не забывайте, что с точки зрения музея - нам нужно, чтобы проект был простым, ясным и привлекательным для широкого круга посетителей, а ,главное, спонсоров, что позволяет надеяться на издание каталога. А Вы предлагаете достаточно элитарный подход, который рассчитан на узкую аудиторию и не позволит музею сделать "громкий" PR -ход и привлечь всех, кого можно, в музей. Если Вы бываете в СПб, я предпочла бы побеседовать у нас в музее, чтобы найти компромиссы. И всё же согласитесь, что лучше иметь такой проект "Мэйлартиссимо", который уже стал традицией и завоевал положительное к себе отношение, чем не иметь его вообще. Буду благодарна за искреннюю поддержку и помощь в выборе приоритетов, например, для Мэйлартиссимо-2010!?! Советы принимаются.

Да, Юрий, у меня ничего не получается с ЖЖ. Помогите советом, или сделайте "Link" с этой странички туда! Мне самой не справиться, а там я себя теряю, где-то зарегистрировалась и не могу найти ((:))!

I am sorry, we will continue in English. We simply have had some unsolved points in between. I promise to write in English in all future messages. But it was not Greek, it was the Russian language. :)))

If anybody want to translate this discussion from russian You can use any electronic translator. For me it's more comfortable to continue in Russian.

Вот линк: http://pogarskij.livejournal.com/52533.html
Там много всего, готовьтесь убить часа полтора...

Ну вот на Светлану просьба не наезжать...
Да можно сделать простой ясный и правильный проект. Я разве призываю делать что-то непростое и неясное? Я разве что-то предлагал? Нет, только критиковал то, что было сделано. Критиковал конструктивно. Могу дать соответствующие цитаты из текстов классиков, сослаться на опыт проведения подобных же выставок в Москве и других странах и т.п.
Нет, в последнее время я не сторонник подхода, что лучше что-то , чем ничего. Этого что-то стало слишком много и оно фактически превращается в ничего, к несчастью. В СПб я бываю, но редко - но можно общаться и электронно.

Людмила Николаевна, мы работали вместе над первым Мэйлартиссимо 6 лет назад. Мы, в общем-то, знаем друг друга. Я могу впрячься в это дело снова, но мне нужно формальное основание для этой работы в виде контракта/договора на минимальную сумму - скажем, 2 тысячи рублей в месяц или там 20 тысяч рублей в год. Это прибавит ответственности нашим сторонам. Со своей стороны, я бы тогда впрягся в этот проект со всеми своими связями в этом мире, архивом, знаниями и т.п. И мы бы безусловно нашли компромисс и сделали бы отличный проект, устроивший бы всех. Если мое предложение не принимается - каждый остается при своих, Вы сами делаете проект, я их критикую, советы в эту схему не вписываются, на уровне советов от достаточно посторонних персонажей хорошие проекты не делаются. Обычно.

Dear colleagues!
The following explanation refers to the private problem of the exhibition in St. Petersburg dedicated to mailart. The final solutions we present to all of you in English. Following this discussion is not of your interest for sure.

Да, спасибо, Юрий. Я потрачу время для прочтения всей дискуссии. К Светлане я ни в коем случае не в претензии. И суммы, названные Вами, музей себе позволить может. Вопрос в том, что я боюсь некоторых вопросов, о которых мы должны договориться на берегу. Это касается непосредственно наполнения выставок. Я не всё готова публично представлять. Да и музей, как вы сказали, технический, в котором развитие телекоммуникаций приоритетно. Я бы не хотела, чтобы невозможность достигнуть компромисса случилась в середине проекта. Поэтому каждый из нас должен для себя решить, что он будет стремиться к договорённости и принимать во внимание аргументы противоположной стороны. Да, я согласна, что Шенгелию мы выставили совершенно некстати, но это как раз обязательства Светланы. Соответствие же Флоренских я не подвергаю сомнению. Итак, я готова к переговорам.

DIVULGAÇÃO
http://paulojorgegc.blogspot.com/

http://www.rustelecom-museum.ru > publications > catalogues
"Mailartissimo"-2004, 2005,2006,2007,2008,2009!

http://www.lulu.com/content/paperback-book/thesis-honoria/8151869

The Dissertation Committee for Honoria Madelyn Kim Starbuck Certifies that this is the approved version of the following dissertation: Clashing and Converging: Effects of the Internet on the
Correspondence Art Network.

Now available as book and also as FREE download

Two new books

On the Webshop from TAM-Publications (see besides this text) you will notice that two new books bave been published this month:

1. The lecture I gave at the Stendhal Gallery in New York was based on two sources: The essay I wrote for the Gallery and a slideshow I used at the Willem de Kooning Art Academy. I combined these two sources. The lecture was recorded on video by 3 sources (Mark Bloch, USA - Larry Miller - USA, Cecil Touchon - Canada). To make the sources available I made a 110 pages book out of these. Download of the files is currently for free.

2. The IUOMA was 20 years old. The period 1988-2008 is documented with a book containing texts by Ruud Janssen, Vittore Baroni, Wilma Duguay, Tulio Restrepo, Geert de Decker and John held Jr. Lots of illustration from the rich history of the IUOMA. Also for this book the material the download will be free for the first time.

see: http://stores.lulu.com/iuoma

Lyucinda sent this new publication for the TAM-Archive.

Thank you for publication. I hope to be active in presentation of he next one.

See: http://stores.lulu.com/iuoma for these two new books that are published this month. Downlad is available for free this first month. A printed version (hardcopy book) can be ordered for costprice.

The texts below have never been published in bookform before, so take the oportunity to have a collectors item.....

Franticham has put a list of their collection online at:

http://www.redfoxpress.com/collection-books.html

Lecture and workshop Exploring Copier Art: August 28th and Sept 25th

Fluxus Performance on as part of the Inter-Florida Fluxus Tour on Sept 14th including: Keith Buchholz, Reid Wood, Reed Altemus, Bibiana Padilla Maltos and myself.

Works in the show are my books Blitzkunst, The Storefront, Copy Art Exhibition discussed previously in this blog. Included are several one-of-a-kind books I made using plastic sleeves with found objects. Also a few letterpress books from experiments I did using unconventional methods/materials, rubberstamp books I made in Europe, assemblings and mail art catalogs. Lots of artistamp works showing the use of the copiers to make stamps - from my Gina Lotta Artistamp Museum collection (see the blog). My computer copier pieces, and fruit series are amongst the prints selected by the curator. A whole case shows videophone prints made with students in my 80s computer graphics classes.

Included are selections of works from other artists from my archives. This is just part of many more items in my Mail Art and book collection:
96 Tears
Andrew Hayes
Art Hakim
Barbara Cushman’s Color Xerox Calendars
Barbara Wyeth
Bill Wilson
Buster Cleveland
Buz Blurr
Cavellini
Daniel Cabanis
Emilio Morandi - Arte Studio
Eva Lake
Julia and György Galántai - Artpool
Harley
Henryk Gaweski
HR Fricker
Ian Teuty
John Udvardy
Jurgen Olbrich
Leland Fletcher
Liza Jane Norman
Madam X
Mario Lara
Michael Mintz
Pawel Petasz
Polly Esther Nation
Ray Johnson
Reed Altemus
Richard Kostelanetz
Rockola
Ryouski Cohen
Scarlatina Lust
Ulises Carrión
Vigo Marx
Vittore Baroni
William Gaglione

A Book About Death - project created by Matthew Rose 2009 (not 80s but they really like this concept) has a whole case filled with the book.

More about 80s art can be seen at ginnylloyd.blogspot.com

Is the book below for sale somewhere?

ARTBAHNKREUZ: a cura di Giancarlo DA LIO e Tiziana BARACCHI
pag.106 a colori, A5, 12 euro

ARTISTI PRESENTI: Tiziana Baracchi, Fiorenzo Barindelli, Horst Baur, Lello Bavenni, Mariano Bellarosa, Bruno Blenner, Lamberto Caravita, Yolaine Carlier, Bruno Cassaglia, Pino Conestabile, Carmela Corsitto, Cristina Cortese, Francesco Cucci, Maurizio Follin, Mauro Gentile, Claudio Grandinetti, Klaus Groh, Claudio Guasti, Karl F. Hacker, Cesare Iezzi, Isabel Jover, Helmut King, Ettore Le Donne, Eligio Leschiutta, Setyo Mardiyantoro, Giosuè Marongiu, Giuseppe Masciarelli, Henning Mittendorf, Vincenzo Montella, Gianni Noli, Carlo Olivari, Lynn Palmiter, Rèmy Pénard, Walter Pennacchi, Cesar Reglero, Tulio Restrepo, Paola Rivabene, Luciano Rizzardi, Claudio Romeo, Roberto Sanchez, Renato Sclaunich, Pete Spence, Salvatore Starace, Giovanni Strada, Joel Thepault, Maurizio Trentin, Tito Truglia, Rüdiger Axel Westphal, Reid Wood Tutti a Kassel! Artisti in Cornice

MAILART GALAXY, 2010
a cura di Giancarlo DA LIO e Tiziana BARACCHI pag.106 a colori, A5
ARTISTI PRESENTI: Ay-O, Tiziana Baracchi, Fiorenzo Barindelli, Keith Bates, Horst Baur, Mariano Bellarosa, John Bennett, Graziella Bettinardi, Keith Buchholz, Lamberto Carovita, Yolaine Carlier, Bruno Cassaglia, Alessandro Ceccotto, Joel Cohen, Pino Conestabile, Carmela Corsetto, Francesco Cucci, Ko De Jonge, David Dellafiora, Marcello Diotallevi, Eugenie Dubreuil, Jeffrey Errick, Bartolomè Ferrando, Maurizio Follin, Fränz Frisch, Mauro Gentile, Jury Gik, Antonio Gomez, Claudio Grandinetti, Cesare Iezzi, Miguel Jimenez, Peter Küstermann, Jim Leftwich, Pascal Lenoir, Giosuè Marongiu, Henning Mittendorf, Valentino Montanari, Keiichi Nakamura, Gianni Noli, Fausto Paci, Angela Pähler, Lynn Palmiter, Claudio Parentela, Marco Pasian, Rémy Pénard, Walter Pennacchi, PLG, Dorian Ribas Marino, Paola Rivabene, Roberto Sanchez, Roberto Scala, Renato Sclaunich, Serge Segay, Shozo Shimamoto, Dale Speirs, Salvatore Storace, Honoria Starbuck, Rod Summers, Ilkka Juhani Takalo Eskola, Isabelle Vannobel, Dan Waber, Petra Weimer, Bill Wilson, Reid Wood, Elizabeth Zois. Riviste in Assemblaggio: Circulaire 132, El Mail Tao, Nada Zero. Cassette Postali. Obiettivo Museo Minimo. Attenti ai Falsi Miti. Una idea di Museo

Hi Tiziana,
Could you also leave details on how others can order these two publications? Thank you.
Ruud

To receive one copy send to me 15 euro or 20 dollars (for printing/sending costs).
How? as you prefer (contacts: daliobaracchi@hotmail.com)
TIZIANA BARACCHI
via Cavallotti 83B
I-30171 VENEZIA MESTRE
ITALY

Pere Sousa published another Book on Mail-Art, completely in Spanish language. The book contains lots of texts from some main players in Mail-Art and even some translated interviews with Clemente Padin, John Held Jr. , Edgardo Antonio Vigo and much more. 186 pages, ISBN 978-84-937098-77 by Coleccion Artes / 03. Pere Sousa Published his own magazin Merz Mail which is also quite well represented in the magazine. A must for all spanish speaking mailartists and a wonderful addition to the TAM-Archive.

Catalogue from a mail-art exhibition in Paris, France. received from Jeff Berner.

details : see posting below.

 

Artist Niels Peter Lomholt from Denmark has published his Mail Art Archive, it is a wonderful compendium on mail art of the years 1971-1985. A must have in every mail art archive, here you can find the link for more details and the info for the order:

http://www.lfp-archive.dk/?p=195

Use these stamps to send the books!

ciao

I think I just sent a message to the whole group...amazing!

Sorry, it was not my intention. I am new to the site and just wanted to add to the page.

I will try again.

Post secret, an amazing idea, and apparently a helpful one too.http://www.postsecret.com/

quite a series you have published Francis!

a glimpse of the TAM-Archive library. Hundreds of books on mail-art have been produced over the last decades.

so many books in the TAM-Archive & Fluxus Heidelberg Center Library.

 

 

a day at the races is a photo book showcasing artists' performances (Lloyd, Banana, Cleveland, Gaglione and more) taking place in a photobooth. Images were taken from 1980 to 2010. Includes humorous dialog.6" x 9", saddle-stitch binding, 24 pages

This is a link to a new publication on the Mail Art Network:

640 pages. Hard cover. 3333 illustrations.

Price (within the Mail Art Network, through: lomholt@newmail.dk): € 50

 

LOMHOLT MAIL ART ARCHIVE, FOTOWERK AND VIDEO WORKS

www.LFP-archive.dk

 

The publication is available at (can be seen, touched and paged):

Librairie Flammarion Centre Pompidou, Paris

Walter König, Berlin, Köln: order@buchhandlung-walther-koenig.de

Wien  Lukatsch, Berlin: www.barbarawien.de

PRO qm, Berlin: http://www.pro-qm.de/kontakt

Sautter + Lackmann, Hamburg: http://www.sautter-lackmann.de/kontakt.php

Serpentine Gallery, London

Whitechapel Art Gallery, London

Boekie Woekie, Berenstraat 16, Amsterdam: http://www.xs4all.nl/~boewoe/

 

Best wishes

 

 

Niels Lomholt, Bromaj 3, 5985 Søby, DENMARK

e-mail: lomholt@newmail.dk