Thursday, October 27, 2005

The Walnut Sky: "The Wind's Flame" (qbdp # 102)

Hampton Inn, Room 215, Williamsville, New York

I'm in Williamsville, New York, to help present a one-and-a-half-day symposium on electronic records. Tonight is probably my easiest night of the week for me, so I sat down, took out my pens and my walnut ink and splashed ink on the page until I liked something enough to copy it onto nice big watercolor cards.

Geof Huth, "The Wind's Flames" (qbdp 102, 27 Oct 2005)

The recipients of this mailing were

1. Ruth and Marvin Sackner

2. Bob Grumman

3. Roy Arenella

4. Ruud Janssen

5. Dan Waber

6. Dees Stribling

7. qbdp

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Where's qbdp # 101?

I can't reveal the answer to that question yet, but you'll know soon enough.

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Saturday, October 22, 2005

A Confusion of Signs: "EARMARK" (qbdp # 100)

Sheraton Dover Hotel, Room 612, Dover, Delaware

Geof Huth, "EARMARK" (qbdp 100, 22 Oct 2005)

On the second late night of a conference, I somehow found the time to create a small visual pwoermd and fidgetglyph during a session, which I transferred onto a dozen cards. The dozen lucky recipients of this card were as follows:

1. Ruth and Marvin Sackner

2. Bob Grumman

3. Roy Arenella

4. Ruud Janssen

5. Dan Waber

6. Jimi Camero

7. Pablo Wright

8. Jim Leftwich

9. Ryosuke Cohen

10. Scott McDonald

11. Ficus strangulensis

12. qbdp

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Friday, October 21, 2005

Yet Another View: "res een" (qbdp # 99)

Sheraton Dover Hotel, Room 612, Dover, Delaware

Geof Huth, "res een" (qbdp 99, 21 Oct 2005)

Trying to enjoy myself at a conference, I took a recent fidgetglyph and wrew a copy of it onto ten cards. The recipients of this card were

1. Ruth and Marvin Sackner

2. Bob Grumman

3. Roy Arenella

4. Ruud Janssen

5. Dan Waber

6. RF Côté

7. Karri Kokko

8. Jassy Lupa

9. Ross Priddle

10. qbdp

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Saturday, October 08, 2005

A Fortune Box of Cookie Fortunes

This mailing from Dan Waber is one I should have written about much sooner. I received it, I believe, in early August, but its shape kept it out of the pile of mailart I had to write about.

In a small carved wooden box (made in Vietnam), Dan included two cinnamon fortune cookies he had made--they were delicious, and I ate them right away--into which he had inserted the two fortunes you see in the photo below. The more complicated one uses tmesis to break apart the term "fortune cookie" to find the other possible meanings hidden within it. The simpler fortune, however, is a bit enigmatic. My guess is that it is a reference to the great Canadian poet bpNichol, whose visual poems were often focused on the linear stability of the capital H.

Dan Waber, "for tune, cook i, e" and "H" (Aug 2005)

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Like Matches to Lotus Blossoms

This simple collage--consisting of the face of a matchbox glued onto a card that Angela then colors to match the matchbox cover--still draws me in. What Angela Genusa has done is find a simple yet alluring image and then give is an almost spartan world to live in, but one that draws out the alluring features of the original.

Angela Genusa, "Gnanam Match Works" (6 Sep 2005)

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Coffee Stains and Rubber Stamps

Dan Waber sends me my favorite so far in his alphacard series. The poem is, obviously, about itself, about a ring left by a coffee cup. In this case, the imperfect coffestained O begins the word "oops" that refers to the stain. The other side of the card also includes another coffee stain, almost as if the stain has seeped through to the other side.

Dan Waber, "Oops" (2 Sep 2005)

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Mick Boyle--who pencils onto the front of the card the message, "Summer seems so short"--sends me another study on natural forms. Not that this includes not just the red and green torsos fo two men but also the foggy outline of a chalky moth. Another fetching design by Mick.

Mick Boyle, Red and Green Torsos (2 Sep 2005)

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Memories of Katrina

A.A. Berry, who lives in Hattiesburg, Mississippi, one of Hurricane Katrina's targets, sent me this simple postcard, which explains that Katrina left enough damage in its Mississippian wake. I passed through Hattiesburg on August 20th, nine days before Katrina hit, and two days before that I ate lunch there. It was in perfect shape both times, but I wonder what it's like now.

A.A. Berry, "KATRINA WAVES HELL-O" (Sep 2005)

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Somewhere in Oklahoma

Pablo Wright sends me another of his political postcards of a limited edition block print, and once again he clearly explains his point in a label attached to the back of the card:

The American public has a short attention span. Long after the present administration has left office and our roads and schools are crumbling, our public institutions and programs lie in waste, and our land, water and atmosphere are a toxic cocktail, we will blame whoever is in office. Few will remember the policies and crimes of the government that drove us to ruin.

We will be too busy praying to the only state sanctioned god.

Pablo Wright, "Return to Normal" (1 Sep 2005)

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Daily Life Collage

Angela Genusa's card this time includes a remarkably three-dimensional collaqge that inclues old postage stamps, cut-up cigarete packages, and other cultural effects. Given the fact that the stamps are "airmail" stamps and the collage includes a prominently placed USAirways luggage tag, this collage seems to be about airflight--even if the only airline passenger is this card.

Angela Genusa, "Skip the line" (Aug 2005)

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Huths and Huthing

The title above is my own translation of the phrase "Hats and Archives" (where "Huth" is understood to be nothing more than the older German spelling of the word "hat" and where archives is what one Huth does). Roy Arenella sends me the card below (which is from the National Archives) and sticks a 20-cent stamp National Archives stamp of Abe Lincoln in a tall hat and George Washington--so he has hats and archives on both sides of the card.

Roy Arenella, "Hats & Archives" (31 Aug 2005)

This card is # 164cc (one of the c's of which means "card," but what about the other c?). Roy also corrects the number of the last card, which he explains should have been 162pc--where "pc" does stand for "postal card--instead of uspc.

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Speak Zaum to Power

Jim Leftwich sends me an envelope filled with 3-by-5-inch index cards upon which he has stmped all types of colorful shapes and letters. These pieces suggest text without clearly being text. All of these are part of Jim's "Speak Zaum to Power" series.

Jim Leftwich, Two Collage Stampings (31 Aug 2005)

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Gee, Why Do You Growl So?

Dan Waber has made it to G in his alphacards series. Here a brown G gives visual voice to a guttural "argh."

Dan Waber, "arGh" (30 Aug 2005)

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Taking the L through the Mails

Jukka-Pekka Kervinen sends me another in his unending series of beautiful letteral collages, this one much in the manner of Jim Leftwich, whom Jukka is closely allied with. Here the L's in the piece are barely outlined in ink, so that they appear as specters of L's, rather that in-the-flesh L's.

Jukka-Pekka Kervinen, ELLs (31 Aug 2005)

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Against Touchless Art

I do not receive many mailings from Gustave Morin, but each is a tiny joy, the back of which is covered with blanket of handwriting that barely leaves space for the sender's addresss. (He never includes his own address.) This mailing one is a thick white card, specifically of the type used to identify works of art in a gallery, and the message on the card tells us not to touch the art--an ironic message in the world of mailart.

Gustave Morin, "Please do" (27 Aug 2005)

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Leaving the Herd and the Scene

Roy Arenella has created another beautiful little visual micro-essay on this card. His message is a simple one about the need for artists to think for themselves, to find their own way, to be true to their own muses. Somehow, Roy put togerh this beautiful little card (his handwriting always entrances me) while unable to get back to sleep at three o'clock one morning.

Roy Arenella, "So Many Art-" (29 Aug 2005)

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Hotel Bliss

I am always reading this beautifl silver collage--the angel as matchbook cover--as the Hotel Bliss, since "Bliss Hotel" is so much less enthralling. Why do I find such a simple thing so pleasing? The color? The words? The simplicity of it?

Angela Genusa, "Bliss Hotel" (27 Aug 2005)

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Don't Be a Robot

Pablo Wright sends this limited edition block print along with an anti-consumerist message affixed to the back of the card on a sticker. That message goes something like this:

Rage against the Robot! The Robot is Raging Against You.The American people are exposed to over 1500 advertisements a day. Media conglomerates alter news and entertainment programming transforming communication into propaganda for profit. True to the definition of propaganda, the people do not realize that they are being reprogrammed into compliant consumers. Suitably hypnotized, the public offers little objection to advertisemnts and propaganda posting as news on news programs. Corporate media and government propaganda are one and the same.

Pablo Wright, "ROBOT" (25 Aug 2005)

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A Stitch this Time

frips is always sending me cards to which she has stitched various other pieces. To receive one of her stitched corrugated cardboard cards is a joy indeed. But this time she has surprised me with a beautiful blockprint in Prussian blue of a sewing machine, making her card both stitching and about stitching. (She also kindly explained to me that "Koer," the word over the door in the picture, is "old dutch for W.C. (in old cafes) (open backspace).")

frips, "KOER" (24 Aug 2005)

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The Story of Fang

Dan Waber is slowly releasing, in editions of 100, potato-printed cards for each letter of the alphabet. With this letter, he has made it to F, where the top of the F in the word "Fang" curves into a fanglike point, and where pinkish-red paint splatters like blood across the face of the card.

Dan Waber, "Fang" (Aug 2005)

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ViZine!'s Vlope

I received from Jimi Camero (AKA ViZine!--I think) a huge pile of cultural leavings: leaflets, instruction manuals, cards, and lots of little ATCs like the one below. This is a form of mailart I haven't seen much of recently, and I don't know why not. I see such mailings as little time capsules sent from one artist to another. My almost-never-issues mailartzine, Film Clips, uses the same technique.

Jimi Camero, "Secure the Universe" (22 Aug 2005)

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Exclamations in the Night

Creating his card on the 22nd of August 2005, Roy Arenella carefully silhouettes a giant keystoning exclamation point on the back of his postal card. The exclamation point takes no ink itself; it is but the white that blocks our view of the black background. Visual works like this force us into a struggle between positive and negative space as we try to determine what part we should foreground and which part to let slip into the background.

Roy Arenella, "!" (22 Aug 2005)

On the front of the card, Roy let's us know that this is card # "157 USPC" (where "USPC," I suppose, means "United States postal card," but I could be wrong). And he explains himself thus: "Re: Some recent blog entries." So I know he is congratulating me on a few blog entries from just before August 22nd. The use of a small fleur de lis rubberstamping and of a 20-cent "Louisiana World Exposition" stamp affixed to the face of the three-cent postal card (to ensure that it bears sufficient postage for the hour-long trip to me) tells me he has my postings from New Orleans (from just before Hurricane Katrina) in mind.

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The Art of Stamping

John M. Bennett is about the busiest person in mailart and underground literature, even since the folding of his long-running zine, Lost and Found Times, early this year. He sent me this mailing soon after I'd visited him and written a little blog entry on him and his home, and on the outside of the envelope he says, "Now I have to imagine your house--you should do a self-visit, eh?"

Inside the envelope, John included a little pamphlet, an add-n-pass sheet, and a couple of wonderful rubberstamped visual poems. These seem to spell out words, but the meaning of these words is anything but clear.

John M. Bennett, "UAtscrio" (13 Aug 2005)

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Artists Trading Cards and Other Things

What I enjoy about Jassy Lupa's mailart is how she breaks the rules of this ostensibly ruleless art. Her art is about careful beauty instead of churning and chaos. She often sends her art in the form of notecards. And sometimes, as with this card, she sends thank-you notes. So here you have a couple of examples of her work, one of them a notecard and the other an ATC.

Jassy Lupa, Two Portraits (22 Aug 2005)

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Found Idle Ego Poem

Found poems appear wherever we find them, and Luc Fierens has found one in an error message. What appears to make this scrap of text memorable is that it repeats Luc's name over and over again. What I like about it is that I can barely figure out what any of it means, which makes is a perfect hermetic poem.

Luc Fierens, "A Message: Found Poetry" (21 Aug 2005)

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Musicmaster sends me an envelope decorated with a couple of exophthalmic fish (and what you cannot see is that the body of the partial fish on the front of the envelope continues onto the premlip, which is now folded over to the other side). Inside there are a number of items, including an announcement for the show, "Writers as Visual Artists" (which includes material by Tom Cassidy--a man with many features in common with Musicmaster--and which is illustrated with another one of these envelopefish); the May 27, 2005, issue of Internal Rhyme edited by Musicmaster; and the drawing of the word-balloon people visible below.

Musicmaster, Word-Balloon-Headed People and Envelopefish (19 Aug 2005)

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A Stitch this Time

frips is always sending me cards to which she has stitched various other pieces. To receive one of her stitched corrugated cardboard cards is a joy indeed. But this time she has surprised me with a beautiful blockprint in Prussian blue of a sewing machine, making her card both stitching and about stitching.

frips, "KOER" (24 Aug 2005)

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surrrrrrreal visssssssions

Jassy Lupa sends me an illustrated notecard in an illustrated envelope (with the postage stamp at the wrong corner of the envelope to add a little interest) in response to qbdp # 82, "aRroW." She notes the Arabic-like features of this fidgetglyph and how surreal my card is (particularly on the side invisible to weblog-viewers), and she replies with her own surreal creations.

Jassy Lupa, "surreal" (18 Aug 2005)

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Dan Waber occasionally writes on cards with his fingertips, using a thick paint that slathers onto the page thickly, so thickly that it appears that he'd need a thumb to get the paint on. This card arrived with my initials upon it, but he has also sent out similar cards (with different initials) to different artists he's connected with (for example, Bob Grumman). After all, this is a contest of letters.

Dan Waber, "Playing to the Judge in the Best Letters of All-Time Contest," version "GH" (18 Aug 2005)

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Grouchy Eating

Reusing another already-used postal card (this one written to Mabel Giles of East Baldwin, Maine, by Clara Mabel on September 10th of 1940), Scott McDonald provides us with a grouchy looking face consisting of two green-pea (and P) eyes and a chopstick. Why so crabby? Maybe because of the difficulty of eating peas with just a single chopstick.

Scott McDonald, "2 peas 1 chop stick" (16 Aug 2005)

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Two Days from Breda

On the ides of August, and two days before he was set to move to Breda, Ruud Janssen wrote me a note (written on the back of a Ray Johnson postcard) that apologized for his bombardment of me with postcards and that said he'd need months to unpack after this move. This was the last mailing I received from a while from Ruud. I'm just amazed that Ruud found the time to paint this nice envelope as he was packing to move.

Ruud Janssen, "The nice thing about mail-art is that" (1990; envelope, 15 Aug 2005)

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Writing on Stony Beach

RF Cote went to the beach this summer but could not find the sand, so he wrote me (and a few others) a message on a stony memo sheet about his situation.

RF Côté, "MESSAGE" (14 Aug 2005)

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More cards'n'stoffe

Ficus strangulensis sent me another batch of his "cards'n'stoffe." One of the cards (not shown) is a detail from a sheet (also not shown) sent to me in the month of August from Pablo Wright. The card I am showing is a bit different from Fike's usual output, probably because it's a bit of an homage to The Haddock.

Ficus strangulensis, "with a tip of the Strangulensis hat to The Haddock" (31 Jul 2005)

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Monday, October 03, 2005

Mailart in the Schools

Today, my wife Nancy Huth began her second annual mailart unit in her creative writing class. As examples, I gave her the ten pieces listed right below this note. Nancy is a stickler for accuracy, so the assignment requires her students to mail their project to her at home. I'm looking forward to seeing what the kids come up with (one of the possible themes is "Thursday," which sounds just right to me). Once the projects are in, I'll post a few of them for the approval of "professional" mailartists.

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Sunday, October 02, 2005

Mailart Archives

For his third card to me in a single day, Ruud painted the word "flux" in two parts onto a card. He has separated the X from the rest and put it on the other side of a river of paint ("flux" being a wordbeing for "flow"). This makes us pay more attention to the X, the inconceivable, the unknown. And, of course, it reminds us of Fluxus.

On the reverse of the card, Ruud asks me why I do with all the mailart I receive and assumes that I make some kind of archives out of it all. That is the truth. But here's the full story:

I'm behind on writing about the mailart I receive, but that is my first step. This is akin to "accessioning" for me (an archival term I won't bore you with the definition of). Next I place the mailart in folders by artist and then chronologically. This proves quite useful to me when I want to find an old piece of mailart sometime. The folders I use are pH-neutral and acid-free. (I buy them myself, and they're not cheap, but they help keep my collection in good shape. I also folder all the leaflets and booklets I receive, which can be quite a few over the course of a year.)

Last year, I collected about two cubic feet of mailart (that is two boxes 10 X 12 X 15 inches in size). I store my more recent mailart with my correspondence--appropriately enough--but I have only six cubic feet of filing cabinet space for these. So every year I have to box up some of my older mailart.

I also try to protect the pieces in my folders by isolating acidic materials with slips of pH-neutral paper, etc. One of my more recent problems is that my house is a bit humid during the summer, and Ruud's painted cards started to stick to one another. So now I have to think about separating all the cards from one another and about keeping the pressure on the cards as light as possible.

The big question is what will I do with my mailart collection. There are a few archives that will probably accept my papers into their collections (and I have had one offer already), so eventually these archives will probably find their way into a professional archives, making me one of the few archivist whose own papers are in an archives.

Ruud Janssen, "X Flu" (13 Aug 2005)

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Padre y hijo

When Mick Boyle sent me this card, the summer was still in full swing, and he noted that the summer was slipping by serenely. But now we are in the fall already. Time passes on. And Mick's card this time is about a father and a son, showing the thick fingers of one and the smiling face of the other. Somehow, though, both these portraits seem to fit together and suggest the connection between fathers and sons.

Mick Boyle, "Father and Son" (Aug 2005)

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On the 13th of August (once again, the day after he created his last mailing to me), Ruud Janssen put together a two-card, one-painting card for me. Once I put the two pieces together, I can see the wordpainting Ruud has made. The main text of the card reads "Was Bezet," which I'm guessing means "was occupied," which I'm hoping really means "busy," because Ruud was certainly busy at this time, since he was preparing to move.

But on the main text, Ruud has painted a subtext (or, literally, a supertext): Geof an Huth bee en eat aha so called art za zoof. This is a little harder for me to fathom, but Ruud is certainly riffing on the idea that mailart is less than art in most people's eyes. Another intriguing card from the mind of Ruud Janssen.

Ruud Janssen, "Was Bezet" (13 Aug 2005)

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Overwritten and Collaborated

John M. Bennett has sent me another little mailing, along with a couple of collaborative booklets--one he created with Don Boyd, and another where Miguel Jimenez was the collaborator. On the front of the envelope, John included a little drawing that looks like the outline of a butterfly and which he has labeled "the character for 'to be blank'"--referring simultaneously to a recent calliglyph of mine and to his own motto ("Be Blank").

Don Boyd & John M. Bennett, "NEX" (2005)

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Detourned Nation

Reed Altemus has sent me another one of his brown envelopes stuff with mailart. Inside there are postcards and two sheets of full-color copy-art artist's stamps, and a couple visual poems. One of my favorites in this batch is a stylishly detourned comics page in which Reed has filled the word balloons with random sets of floating letters, leaving us to question our ability to communicate with language at all.

Reed Altemus, Detourned Comic Strip (sent 12 Aug 2005)

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Sopping it Up

Only one day after sending me his last card, and while he was probably still working on packing for his move, he put together a wordcard called "Sop." On the back of the card, Ruud explains that both "'SOP' and 'Op' are Dutch words. The two combined make a beautiful short poem." Strangely, "sop" made me think of nothing more than "sopping up" gravy with a piece of bread, but I decided to look up the meaning of these Dutch terms, and I discovered that

sop means lather, sauce, gravy

and that

op means upon, worn, up, upwards, exhausted, on

So I am now supposing that "sop" in English and Dutch share the same root, and that we've turned gravy into what we do to it. And "op," well, that sounds like "up" to me. But I wonder if Ruud had any other reading in mind!

Ruud Janssen, "Sop" (12 Aug 2005)

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Stratigraphic Bits

Fat Red Ant sent me this card without a return address or his or her name, but the Vermont postmark clued me in to the source of this card. Both sides of this stiff card present us a shimmering digital collage that tries to resemble a handmade collage by giving the illusion of layers. On this verso side of the card, we can see LED letters shining through the layers, reminding us of the digital world they inhabit. The verso side (available on Fat Red Ant's website) is even better, and the slit and layers visible in the center of this one seem inescapably sexual to me.

Fat Red Ant, Reverse of untitled collage (11 Aug 2005)

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When Ruud Janssen wrote me the note on this card, he was packing to move to Breda, yet he told me he intended to paint mailart cards right up to the end. This painted wordcard of Ruud's is quite appropriate, since its word is "Post," reminds us of the mails. Of course, this word reminds us that a word out of context has limited meaning--or multiplied meaning--since the word could also mean "after." And the colors of the card remind me of the sunset, the closing of the day.

Ruud Janssen, "Post" (11 Aug 2005)

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A.A. Berry sent me a postal card sometime during the early part of August. On the back he pasted a clipping of "The 'Ladder' Pose by Gymnasium Girls, Forming the Letter S." Since the girls, twist their bodies through the standing A of a ladder, I see the word "AS" beginning a sentence that doesn't end. Berry captions this clipping with "Ray Johnson Fan Club," reminding us of the simplicity of some of mailartist Johnson's quasi-collaged founds.

A.A. Berry, "Ray Johnson Fan Club" (Aug 2005)

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Le violiniste en rose

Back almost two months ago, frips made another one of her cardboard cards with stitchings and all manner of other additions. Both sides of the card are beautiful amalgamations of stamps, stampings, carving prints, stickers, stitching, and her own mirror writing.

frips is some kind of modern-day Leonardo who writes these perfect little notes to me backwards. I can read the mirror-writing fairly easily, but I usually read these notes in my bathroom mirror, since that is faster. And when I see the text in the mirror, I am always amazed that she has been able to write (even over the rough topography of her cards) a perfect mirror writing that looks absolutely natural in the mirror.

In this note, she praises my modest writings about the mailart I receive. Then she talks about all the inescapable questions about mailart: Is it worth the time to manage a mailart blog? Is it worth the time even to create and send the mailart in the first place?

My answer: We can never know if the mailart is worth our own time. But if we touch someone on the other side, it's worth it where it counts.

frips, Le violiniste en rose (9 Aug 2005)

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Saturday, October 01, 2005

The Giant X of Fluxus

Sometime before we left on vacation back in August, I received this card from Ruud Janssen; another one of his paintings of words, this one includes only the word "Fluxus." As I start to catch up on this blogging, I wonder if I have 100 or more other pieces to add to this blog. Or if I'll misplace any of these pieces.

Ruud Janssen, "FluXus" (1 Aug 2005)

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Half the Way There

I took quite a few hours today to add information on the last eighteen issues of qbdp, so all I have to do now is document the mailart I've received over the past two months. I am quite behind.

All the new postings to this blog are not even visible on the homepage right now, so if you want to review all the new entries go back until the entry for 12 August 2005 (since I dated all the entries with the date of the issue of qbdp).

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Lumbering Like a Crayon: "ess/eM" (qbdp # 98)

Holiday Inn City Centre, Room 923, Milwaukee, Wisconsin

Yesterday, I arrived in Milwaukee for the second time in less than a year. I arrived early enough in the day that I could meet the visual poet David Baptiste Chirot and visit the renowned Woodland Patterns Book Center. All of this took up so much time, late into the night, that I once again created my qbdp mailing in the morning today.

After David left last night, I found a tiny scrap of one of his lumber crayons (which he uses to create his particular brand of visual poem, the rubBEing), so I sketched with that until I designed the fidgetglyph I used on this card. Once again pressed for time, I wrote only brief two-line messages on each card, and each message merely described, in some manner or another, the visual poem on the other side. On my own copy, I inscribed this sample message:

The shadow
of wind.

The recipients of "ess/eM" (qbdp # 98) were

1/10 Ruth and Marvin Sackner

2/10 Bob Grumman

3/10 Roy Arenella

4/10 Ruud Janssen

5/10 Dan Waber

6/10 Musicmaster

7/10 David Baptiste Chirot

8/10 Fat Red Ant

9/10 Gustave Morin

10/10 qbdp

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