iuoma.org – Interested in Mail-Art?

welcome to the International Union of Mail-Artists. This Blog gives you information and links to all activities undertaken by Ruud Janssen, who started with Mail-Art in 1980 and is still active.

mail-interview with Carol Stetser – USA

THE MAIL-INTERVIEW WITH CAROL STETSER

(USA)

Carol Stetser USA
TAM-PUBLICATIONS

TAM-970171

THE MAIL-INTERVIEW WITH CAROL STETSER

Started on 12-11-1995

RJ : Welcome to this mail-interview. First let me ask you the traditional question. When did you get involved in the mail-art network?

Reply on 11-12-1995

CS : In 1976 I founded Padma Press (see enclosed catalog) and proceeded to publish in the next 3 years, three offset books of my photographs. In July 1978 Judith Hoffberg reviewed one of my books in “Umbrella” and it is in this periodical that I first read about mail art. On March 5, 1979, I participated in my first mail art exhibition “Umbrella”, sponsored by Hoffberg and held at the University of California, Riverside. During 1979 I participated in a dozen mail art shows and double that number in 1980. I primarily sent out postcards of my photographs and tear sheets from my books.

Correspondents sent me xeroxes, the first time I encountered that medium. I packed up my darkroom and only shot instant photographs. Then I began making xerographs, both black-and-white and color in 1981. These early pieces were very photographic in nature. For example, the first series of color xeroxes I ever printed I called “Pollages”; these were collages utilizing polaroid SX-70 prints. In 1982 I joined the ISCA (International Society of Copier Artists) and from that time up to the present I have made xerography my primary medium.

At the time I began participating in the network I lived in a rebuilt tin shack that was once a miner’s cabin in the small town of Oatman in the Mohave desert of Arizona. Retired people and bums made up the population of 200. Wild burros roamed the hills and Main Street. Gunfights entertained the tourists on weekends. My husband, a disabled Vietnam veteran, painted murals and did wood-carving. We lived on his government pension. I also worked at various times as the bookkeeper for the local water company, salesperson at a hardware store, and eventually in the post office (Oatman, where a mail artist delivers the mail). By choice we had no telephone or television. It was 25 miles to a gas station or grocery store. So you can see we lived a very simple life – and a very isolated one. Mail art was perfect for me because it brought me in contact with the rest of the world.

In a small town you spend a lot of time discussing the weather, the potholes in the road, who is sleeping with whom, and who got drunk last night. This gossip bonds a community together and helps pass the time, but it does have its limits. My correspondence had no limits; mail art opened the world to me. It brought me information and stimulation and friendship from all over the globe. It gave me hope and kept me from becoming as crazy as my neighbors.

RJ : I can guess that in such a small town the people also knew about your mail art……. Didn’t your neighbors think that you were crazy? How do the people in your surroundings react to the mail art you receive?

Reply on 5-1-1996

(together with her answer Carol Stetser sent me a 8-page long list with an overview of her activities and publications)

CS : This is an interesting question that I never thought about before. The townspeople knew nothing at all about the mail art network or my participation in it. The postal employees enjoyed the decorated envelopes that passed through the mail, but that was the only feed back I received. My neighbours knew I did photography, but no one ever visited my darkroom.

When I showed people prints of local buildings the comments usually were, “You make that old tin shack look too good.” I gave photographs to the locals who posed for me; they thanked me, but I never saw the pictures hanging in their cabins. When my books were published, the self-portraits, naked from the waist up, generated the most comments, principally from the men. You see, the majority of retired people living in this town were from the working class and lived on social security benefits. Few of the local kids finished highschool. Art meant nothing to them.

We artists, whose lives revolve around art, tend to forget that the rest of the world doesn’t share our passions. The idea of Art for Art’s sake was inconceivable to my neighbors. If you couldn’t sell it to buy food, beer, cigarettes, or shelter, what good was it? Art meant the pictures on calendars. Art is realistic and pretty. Anything else was incomprehensible.

RJ : The publishing and making of books, even handmade unique books, seems to be very important for you. Is it a commercial activity for you or is there more to it?

Reply on 20-1-1996

(Besides her answer Carol also sent some info about Padma Press and some artworks. Also she writes that she has sent some more books by surface mail, so I hope to get that during the continuation of this interview).

CS : Ah, books. “Everything in the world exists to end up in a book”. isn’t that what Mallarmé wrote? When I “retired” from mail art and found I had time to devote to other pursuits, I sat down and thought about what was really important to me, what I believed in, to what organization I should volunteer my time and energy. In my town there’s a booklet listing all the groups for the retirees to join. Looking through this I realized that books had always been the focus of my life. I volunteered at the library.
When I was a student I often visited museums but never stepped into galleries. Therefore, in the 1970’s when I began making photographs I was not interested in exhibiting my prints in galleries. The audience seemed too limited. Instead, I thought about arranging the material around a theme in the format of a book. The mid-70’s in America was the hey-day of small-press, offset-printed books. I took all my money and put it into printing 3 books of my photographs. At the time I was naive enough to believe that publishing artists books was a commercial venture and would generate jobs and income for me. I’d been much better off to have purchased land and a house which is what my “hippy” brother did at the time. The books did receive good reviews, but I never made enough money to break even. You could say that my publishing was supposed to be a commercial activity but didn’t turn out to be. I still have stacks of cartons of books stashed in my closet.

But I did it and now I don’t have to do it again. When I reached the age of 40 I didn’t have the usual middle-age regrets about never having risked following a dream. It’s actually pretty amazing to realize I conducted the business with printers and binderies in New York City through the mail and over a pay phone on a rural Arizona main street. I don’t have that kind of naive optimism anymore, it’s something I’m glad I did in my twenties.

Eventually I realized my audience was a very limited one: other artists, a few university libraries and archives, who understood what artists books and visual poetry are all about. Then I could make very small runs or limited editions of xerographic books and at least recoup my expenses. But I continue to think about everything as it relates to a book. I haven’t done any audio work, performance art, or any more gallery exhibitions. My communication is always one-to-one through a book: personal, visual, and tactile.

Besides the 3 offset photography books I also made xerographic bookworks exploring photographic themes. Positive Negatives (1984) are collages using contact cheets. Persistence of Memory (1985) manipulates old family photos to explore the relationship between memory and photography. Fashion is another theme that interests me, women as portrayed photographically by the media. I edited two compilations on the theme of fashion and style in 1986 and 1990, put together a humerous assortment of accessories for mail artists in Letter Fashion in 1987, and made the color xerox bookwork of collages called Vogue Patterns which got me in trouble with Condé Nast and led to the mail art contest to rename the bookwork. I’ve also printed 5 travel journals and 3 visual poetry bookworks since 1988.

RJ : I can guess that living in a small town also means one wants to travel to other parts of the world. Since you wrote journals about your travels they must have been quite interesting. Am I right?

Reply on 10-2-1996

CS : Traveling has always been important to me. I met two husbands while traveling! In 1968 I met my first husband in the airport in Paris. We made 3 other trips to Europe including our honeymoon to Turkey and Iran. Then in 1973 I met Jim, my present husband, in a campground in Nevada. We spent 8 months on the road in America photographing Indian ruins in the Southwest. After we settled in Oatman we camped in the mountains every summer.

In 1988 when I was 40 we sold our cabin, our truck, and most of our possesions and spent a year in Fiji, New Zealand, and Australia. That’s when I first made visual travel journals to send to my family and mail art friends. We’ve made 6 trips to the South Pacific in the past decade. I love it there – it’s such a change from the desert. I like sharing my experiences and my correspondents seem to enjoy reading about our journeys.

RJ : Have you also traveled with the purpose to meet mail artists/correspondents? Any interesting stories about that?

Reply on 2-3-1996

CS : I haven’t met many mail artists. Julia and Gyorgy Galantai (artpool, Hungary) spent some time at the University in Phoenix where I met them one afternoon for lunch. Opal Nations visited me in Oatman, Peter Küstermann and Angela stopped in Sedona during their Congress travels. And once I met Richard Meade and Minoy at Michael Hyatt’s house in Los Angeles.

I have mixed feelings about mail art tourism. I’m a very shy person and find these social gatherings difficult. Also, personal encounters can dim the participants’ enthusiasm for correspondence. I prefer mail art in the mail.

RJ : That is probably one of the interesting aspects of mail art. It doesn’t matter where you are, but you are the center of your own network, and you decide yourself when you send out responses to the others in the network. You are the center and yet, it is completely solistic and anonymous. Does this make any sense to you?

Reply on 1-4-1996

(Besides her answer Carol also sent some color-xeroxes of her work and a statement on the “Politics” of Photocopier Artist’s Books, she wrote in February 1992).

CS : I think the notion of each mail artist being the center of her own network is very important. It’s the reason I believe it’s impossible to write a history of mail art. I “retired” from mail art in 1992 partly because I felt the personal nature of communication that first attracted me to the network was being lost. Xeroxed mailing lists of participants passed for exhibition catalogs. Books and articles outlined a “his story” of the network and profiled mail art stars. Workshops “taught” people how to participate in mail art. The network is too messy, too individualistic, to complex to fit into a neat restrictive outline. I think these interviews that you are conducting are an appropriate method of conveying something of the organic nature of the Eternal Network – which is why I’m participating in retirement!

There are as many stories about mail art as there are participants. We don’t need critics, judges, or historians. We need openness and freedom. The pathways of communication are infinite.

RJ : Well, I’m flattered with this kind of comment about my interview-project. Yes, every mail artist has his or her own story. And the reason why I started with this interview-project was because I could not find information about these stories. I wonder how it is like to have “retired” in mail art. Was it a sudden decision or was it planned in advance? Did you tell others about this or did you just stop answering the mail?

Reply on 22-4-1996

(The documents Carol metioned in the next answer were enclosed in the envelope, so I could see the whole story of her answer).

CS : I loved participating in the mail art network for many years. I gave my time, energy, and financial resources to mail art. I have nothing but good memories about my participation in the network.

But in 1991 I began to notice a change -in myself, and in the network. In the spring of that year I wrote an article, “Questioning the Historification of Mail Art” that summarized my dismay with the direction I saw the network heading. I questioned the motivation behind the urge among mail artists to become historians. I believed that mail art was being packaged for consumption by the art market. I saw mail art being turned into a commodity. I hated to see mail art touted as one more “ism” in art history. I didn’t want to see it co-opted by the establishment. I hated to once again see women’s participation in the network undermined or ignored by the white males writing their his-stories of the network.

My disillusionment with the direction mail art was heading was one reason I considered retiring from the network. The other reason was personal. I realized that a full mail box often elicited from me a groan rather than a smile. I began to look upon answering my mail as a chore instead of a pleasure. I was suffering from mail burn-out; mail art had ceased to be fun.

I tried cutting back but soon realized, that like all junkies, I would have to go cold turkey. I spent a year mulling over the idea of retirement. Then I read about all the activities planned around 1992 as the year of networker congresses and hit upon the idea of holding a congress through the mail. Since Arizona was not on the major route of artists’ travels I knew it would be difficult for me to physically attend any of these meetings. I also felt it was appropriate to hold my congress in the mail which is where I believed mail art belonged.

I mailed notices to my contacts and asked them to copy and pass around my invitation to a networker Congress through the mail to be held November 10, 1992 on the theme: “One day in the Eternal Network; One day in the life of a Networker.” This event would also celebrate my retirement after 14 years in the network.

Ironically, this project recreated for me the thrill I had first experienced when I began participating in the network. Each letter brought fresh revelations and insights into the life of the sender. I learned more during this project about various individuals than I had known after years of correspondence in the network. I wrote in my documentation of the event that this project demonstrated to me once again that the strength of the mail art network comes from its marvelous diversity. The mundane details of our lives are fascinating, often of greater interest to others than much of the “art” we produce.

I mailed out documentation of the congress in January 1993 and then ceased participating in network activities. When I received notices about mail art exhibitions I forwarded them to other artists. I responded to inquiries from new participants with a postcard stating that I had retired. I continue to correspond with 5-6 mail artists on a regular basis – as friends whom I met in the network. I continue to participate in exhibitions of visual poetry and to send out copies of travel journals to MA friends but these are not mail art activities.

One interesting postscript to my 1992 Congress: I was so interested in the daily accounts of the mundane events in people’s lives that I vowed to continue the project by yearly writing down what I did on November 10. This didn’t work. I missed Nov. 10, 1993. But beginning in December of 1993 I wrote down what I did on the 10th of each month. And by keeping to this regular schedule I’ve been able to maintain a journal for the past 2 years and hope to continue recording the events of the 10th as long as possible. For me this is a legacy of mail art.

I do believe “once a mail artist, always a mail artist.” In the same way that you can’t explain mail art to someone who doesn’t immediately grasp the concept, you can’t ever cease to be a part of the network. It’s in your blood, it’s part of who you are. I’m just a retired practitioner!

RJ : What did you do on the 10th of this month, April 1996?

Reply on 2-6-1996

(Together with her answer Carol sent a copy of her notes made of April 10th 1996).

CS : Today, when I am sitting at my desk responding to your interview question, it is Memorial Day, May 27th, 1996. I don’t remember at all what I did on April 10. Isn’t it amazing how quickly we forget the details of our past. We seem to remember only the highlights of our lives – either the very good or the very bad experiences are stored in our memories.

Each month when I write in my notebook, I try to mention the weather, the major news stories of the day, what I ate (when I travel I am fascinated by what people eat), the mail I received, and my activities for the day. Since my birthday is April 11, I always add the highlights of that day to my April entry.

Let’s see: April 10 was a Wednesday. Here’s the entry for that day (copy enclosed)

RJ : Do you still have all the mail art that you once got in?

Reply on 24-6-1996

CS : I still have all my personal correspondence. In 1987 when we sold our cabin in Oatman and put our belongings in storage before spending a year in the South Pacific I sent boxes of mail art exhibition notices to John Held. But I kept the binders of my personal mail art. Now, the binders sit on my library shelves next to my photo albums. I look at them periodically the same way I look at the photos. They reflect my life at a certain period of time in the same fashion as my snapshots do.

I am a very organized, methodical person. During the year, after I had responded to a piece of mail, I put it in a box in my studio. Then, every January, my first act of the new year was to archive. I put all my photographs and snapshots in an album and arranged them by month. Then I tackled my box of mail art. I sorted the year’s mail by sender making piles of art on the floor of my studio. I put all exhibition announcements and documentation in a seperate box (these eventually went to John Held Jr.). I put catalogs that I liked in my library.

Then I alphabetized the piles of mail art by sender’s last name and mounted everything in 8½ x 11 sheet protectors and put the pages in 3 ring binders housed in slipcases. As it happened, it’s a good thing that I was this fanatical or all my archives would have been destroyed.

A very bizarre incident occured to me in 1983. After Jim and I rebuilt a cabin in Oatman I converted the trailer we had previously occupied into my studio. The town bully (it seems that every town has one) put a stick of dynamite in the planter box at the end of the trailer and blew it up. The incident had nothing to do with me – it was commited in retaliation for testimony Jim had given in court against this man. But he was so stupid he didn’t know he was blowing up my studio instead of Jim’s.

(The answer of Carol was written on a copy of photos taken just after the blast to show how her archive looked because of this).

The blast shattered the windows and hurled metal and wood projectiles the length of the trailer. If I had been inside I would have been seriously injured or possibly killed. Papers and artwork were torn to bits and strewn everywhere. My archives had been on the shelf right below the site of the blast. I found the binders scattered around the room, the rings had popped open, some of the binders had seperated from the slipcases, but the mail art inside remained unharmed! To this day I still find pieces of glass and splinters of wood inside some of the notebooks. To me it was miraculous. Mail art survives dynamite! Art is mightier than the sword!

I learned many things from this event. I had always been terrified of losing everything in a fire (every summer one of the old wooden buildings in town burnt to the ground) And now my studio had been blown up – and I survived – and my artwork survived. I also understood that even if everything I owned had been destroyed it wouldn’t mean the end – my work had a life of its own. You couldn’t take away what I had shared with others. I lost that great fear we have that we have to hold on to all our possessions, that we exist only in terms of our possessions. A great liberation.

The whole incident backfired on the bully. I received tremendous support from the local townspeople. He was totally ostracized (although never brought to justice). Mail artists responded with solicitude. I greatly appreciated the personal and written comments of concern that I received. How’s that for a story of the indestructibility of mail art!

RJ : Yes, quite a story!. Another subject; collages. It is obvious that you like to make collages, and I am happy to get color-copies of some of them. Why are you so fond of this kind of work?

(During the summer vacation Carol spent her time on The Fiji-islands & surroundings.)

Reply on 12-10-1996

CS : I think collage is the perfect medium for American artists living in the late 20th century. In our consumer society we are constantly bombarded with colorful, glossy throw-away material. Daily our mailboxes are stuffed with brochures, catalogs, magazines, newspapers, etc. This is the material that surrounds us in our lives. Therefore it is the perfect material for the artist to use to communicate about our time period.
I just returned from a 2½ month trip to 3 South Pacific nations. You would not be a collage artist if you lived there. The printed matter is simply not available; therefore, collage doesn’t reflect those societies. Craftspeople in Fiji and Western Samon weave mats, make tapa, or carve wood out of the local materials. In the Cook Islands the woman make bright quilts called tivaevae out of the bolts of cloth that are readily available. Paper, on the other hand, is expensive and scarce.

When I lived in Oatman, my neighbors knew I cut up old magazines. They’d give me stacks of periodicals when they had finished with them. The post office where I worked was another rich source of material. In our tiny one-person office there was rarely more than an hour’s worth of work a day. Therefore, we were given the task of filing change-of-address cards for all the newspapers, magazines, and newsletters sent to customers who had moved from the surrounding towns. Every week I went through boxes and boxes of periodicals clipping off address labels and then throwing away the publications. Of course, I managed to cut out the images I wanted before relegating the magazines to the trash bin. The variety of publications printed in this country is astounding. Every conceivable subject has spawned a magazine. I gathered a wealth of material in this job. It was the only time I got paid to work as a collage artist!

Now in Sedona I work at the library. Here also we receive boxes and boxes of donated material. Some of the magazines are sold, some are placed on the “Free” rack, and many are tossed in the trash. Again, a wealth of material is available to me.

I arrange all my cut-outs in expanding-file-folders according to subject. Food, Furniture, Cowboys, Holidays, Houses, War, Snakes, Flowers, Cities, Outer-Space are some of the catagories. I also keep one file for bright colors. In the past, the fashion magazines provided me with the patterns and colors I liked. Now clothes tend to be black or white and I have to depend on Travel or House magazines for the vibrant colors I use in collages influenced by my Polynesian travels.

I do not intend the collages to be the finished product however. They are equivalent to a photographic negative to be printed in a darkroom. I make collages to print on a copy machine. I always keep the characteristics of xerography in mind when arranging a collage. When I work in color I visualize the tones the copier can reproduce. The pasted collage is an intermediate step for me. I keep the “original” collage in binders the same way I file my older negatives. I consider the xerographic print the final image.

(After receiving Carols’s answer I also got more mail with documentation about her travels to all those exotic islands. During her stay in those places she has also mailed me some ‘touristic’ cards which gave an impression of the places she was visiting)

RJ : After seeing how people live in these islands with the sometimes poor economical situations, do you think that mail art is for the ‘rich countries’ only?

answer on : 5-1-1997

CS : You must have the time, energy, and inclination to make mail art. That means money and education. To give away your art, to not ask for financial remuneration, is a luxury only the “rich” can afford. Wealth is relative, but in my experience, mail art is for the “rich”. The concept of mail art is as inconceivable to the poor in America as it is to the poor in the so-called Third World. You are not going to spend your time on mail art if you have no food or shelter.

RJ : The time it takes for my questions to reach you and your answers to reach me is sometimes very long because we both like to travel a lot (thanks for your beautiful travel journal on Western Samoa, I hope you received my report on my trip to San Francisco and California….). So, 6 days before I travel abroad again I would like to send you the next question. If you could travel without problems (like time, money, and other restrictions). Where would you like to go right now?

Answer on 1-4-1997

CS : The Moon.

RJ : Well, since it very difficult to send you mail there, or for you to send a reply to me, maybe it is time to end this interview. After all, we started it at the end of 1995 and it is time that others in the network can read your thoughts as well. Thanks for the interview Carol!

Address mail-artist:

CAROL STETSER
P.O.Box 20081
Sedona – AZ 86341
USA.

Address interviewer:

RUUD JANSSEN – TAM
P.O.Box 1055
4801 BB Breda
NETHERLANDS
e-mail : r.janssen@iuoma.org

Mail-Art in the MoMa – New York

End 2014 there was a lovely exhibition at the MoMa library in New York. Yopu can still find the information on: http://www.moma.org/interactives/exhibitions/2014/analognetwork/

It is a very interesting moment. After exploring the Fluxus collections they have, they are now also exploring the Mail-Art resources they already have in their collections.  Off course I was honoured they also showed some things they have from me. During the Mail-Interview I always sent them samples of the mail-interviews for their library, and used all kind of envelopes for that. One of the mail-interviews was with Clive Phillpot. He was the former director of the MoMa Library, so that made the connections easy.

Title of the exhibition: Analog Network: Mail Art 1960-1999

Mail art—broadly defined as artists’ postal communication—emerged in the early 1960s from Fluxus, Nouveau Réalisme, and Conceptual art practices and expanded into a decentralized, global network. This exhibition traces the growth of correspondence networks, shows politically oriented works, documents discourse about the practice, and concludes with mail artists’ adaptation to the Internet.

The exhibition is organized by Jennifer Tobias, Reader Services Librarian, MoMA Library

mail-interview with Ashley Parker Owens – USA

MAIL INTERVIEW WITH ASHLEY PARKER OWENS (USA)

TAM-PUBLICATIONS

TAM-960110 (www version june 2015 with some Global Mail covers included)

globalmail

MARCH 1996

THE MAIL-INTERVIEW WITH ASHLEY PARKER OWENS.

Started on: 23-12-1994

RJ : Welcome to this mail-interview. First let me ask you the traditional question. When did you get involved in the mail-art network?

Reply on: 13-02-95

AP : In 1981, I somehow received a mail art chain letter. I believe the source was through an art professor or one of their assistants. At the time, I was married, living in Cincinnati, Ohio, and attending art school with my husband. The chain letter was really fascinating because it had exotic names and addresses from all over the world. The promise of receiving hundreds of artworks from all over the world was really exciting, and I immediately started fantasizing about winning this art lottery. I made a postcard and sent it to the person at the top of the list who was located in Germany. The postcard was a close up photo of a rock (that I took with a 4 x 5 camera) that looked like the surface of the moon. On top of the rock I had pasted a small cartoon of two people copulating. I crossed off this name, made my copies and handed them out to other people at school. I waited expectantly and never got any reply from anyone.

Later, after getting my masters degree in New Jersey and then moving to Chicago, I decided I really liked the concept of a mail art show (’85). Specifically, I liked the non-judgmental all-inclusiveness of it. I was very successful exhibiting my “art” work in Chicago and elsewhere, but I also began entering every mail art show I could find. The lack of organized info on this underground I found frustrating.

I still did not have a very good idea about mail art until I had my own mail art show (’89). That is when I became really educated on the depth of what mail art can be, and have essentially become hooked ever since.

Together with Ashley’s first answer she sent me the new “Global Mail Info Sheet”, in which there is info concerning Global Mail, how it is constructed and can be obtained. Also Info about Ashley herself and some questions with answers that are asked to her often. Besides that the info-zine also contained several statements about mail-art from others, including mine from August 1993).
RJ : Obviously the ‘lack of organized info’ made you decide to publish the first ‘Global Mail’, the magazine that is now well-known as a source-magazine for all kind of contacts. Some mail-artists feel that the whole network shouldn’t be too organized and centralized. What are your thoughts?

Reply on : 26-02-1995 (internet via Guy Hensel)

AP : The data Global Mail contains is not mail art, and it is not networking. The action on my part in publishing Global Mail is MY personal attempt at networking. I am passing on information passed to me. But Global Mail’s content is nothing more than a collection of data. It’s just a resource. It records network activity but it has no meaning in and of itself, other than as entertainment. However, it is a tool that can be used to crack out the secrets of mail art and networking.

There is no ONE location of mail art and networking. The real activity is what is going on behind the scenes, beyond the scope of the projects and shows. The real meaning, the real secret, is the exchange between two individuals. That positive energy is the secret.

If anything, I think Global Mail is good for those just starting out, who are trying to build their contact base. But alas, that group of people really don’t understand the publication. One of the goals of Global Mail is to educate and suck people in to the net. It is important not to make this a secret club there’s plenty of stamps for everyone.

I would like Global Mail to be free form. It exercises the imagination. It stretches your limits of what you conceive mail art to be… but I really don’t feel that it is the central location of info. Really, more co op and pass on mailings come my way than publications with listings.

RJ : How important is communication for you? What do you think is the most essential thing about magazines?

Reply on : 19-4-95

(Together with her new answer Ashley sent me 10 copies of the new edition of Global Mail to pass along to friends and people who are interested. The magazine has a bit changed concept now and contains more reprints of letters she received, information about special topics, etc. besides the large list of 500 entries from 45 countries)
AP : How important is communication? The ideas of individuals must permeate our thought space, rather than advertising images, political ideas, or media messages. It is especially enlightening to get information and alternative viewpoints from those in other countries.

During the Rodney King verdict/LA riots period in American history, I asked for international mail art, text, and newspaper articles featuring this event. [In case anyone is unfamiliar with this, Rodney King was severely beaten by a group of policeman, and the brutal incident was captured on videotape. Even with the evidence, the policemen were judged “not guilty.” The city of Los Angeles, CA experienced many riots, looting, and arson attacks as a result of this verdict because the people were absolutely outraged].

It was illuminating to view the way other newspapers in the world featured the stories. Even with a language barrier, you could still derive a lot of information by the chosen photos, their placement, size, body language and color of the individuals, etc.

When receiving mail art and text from individuals, you get a personal viewpoint that is often lacking in a news story. You can understand emotions and feelings and the presentation plays a critical role. Actual handwriting, elaborate art, inappropriate comments, misspelled words and incorrectly translated English all carry a meaning to the person receiving the message.

What is the essential thing about magazines? [by this I’m taking you to mean “zines” – to me there is a big difference between the two]. With zines, an opportunity is given to individuals to imprecisely and perhaps inaccurately present their thoughts, even if they are not completely formed or “wrong.” In a zine, you can read a rant, or perhaps a point of view that is not “politically correct”. These words are presented unsanitized and unprofessionally. A greater truth, and a greater freedom come from publishing all voices, especially when including those who would not normally be given a chance to share their viewpoints in a public forum.

RJ : Your new Global Mail looks wonderful. GM is not commercial at all. How do you manage to keep the zine alive?

Reply on : 1-5-1995 (internet)

gm17b

AP : Your question comes at a very interesting time. There are three aspects to how I keep it going:

1. Financial Up to this point in time, Global Mail has mostly been funded by my reliance on credit cards. I went bankrupt on Good Friday this year (95), so I’m not too sure how I am going to be able to continue with the same high ideals. I have recently allowed myself the possibility of running advertisements on the back page. The distinction is that the ads will be for projects only, not products. I don’t know if this is going to work because everyone has access to free project listings, and if you are not making money off of a product, it is hard to justify spending money on an ad. I also have the current rate prohibitively high because I do not want to take many advertisements. This may seem like discrimination of a sort not everyone has money to publicize their projects in this way.

2. Emotional Persistence and Drive I have highs and lows, just as you would expect. When I am close to a deadline, it is very stressful but I also feel very responsible about getting everything accomplished to the best of my ability and on schedule. I get really manic up to the point of dropping it at the printer. After that point, I start a slow sink into exhaustion that leads to depression. It takes a long time to get feedback on the issue and so for a while it seems as though nobody liked it when really they just have not seen it yet.

I really appreciate comments from individuals. I especially like it when I introduce people to the net through Global Mail and they feel like their life has been altered.

I have always loved the variety of listings. Each issue has at least 500 listings, but there are only 4 5 that I consider hum dingers. By this I mean that they are shocking, or very funny, or cross some kind of boundary for me. I realize everybody’s hum dingers are different, I’m just talking about the sensation of newness and what that feels like. Each issue of Global Mail has been different in some way. It is probably not apparent to the casual reader, but for me there has been the experience of certain patterns, growth, and trends. A couple I can think of is the big surge of dream listings around a year and a half ago, and the current interest in co op zine publishing and distro. As far as growth or success for Global Mail as a vision, I’ve noticed a steadily increasing interest from groups that are traditionally not included. Getting listings from Latino and African American networks, as well as political listings from obscure countries means that others are starting to see Global Mail as really open to everyone. That is my biggest accomplishment, and the little successes in these areas is what really keeps me going.
3. Technical Nuts and Bolts As I have continued with Global Mail, I have steadily acquired more computer savvy to help me process the information in a logical and efficient manner. It may seem counter network to be organized and geeky about the computer, but there is no way for me to process all the info without this high tech help.

RJ : Because of the huge address-list that Global Mail includes you must get a lot of mail. Any statistics you know about that? Are you able to answer all the snail-mail and E-mail you get, or do you have to select?

Reply on : 14-5-1995 (Internet)

AP : I get roughly 100 pieces of mail a week, give or take 30 either way. This includes email. I find the mail tends to drop off in the summer and picks up again in the fall.

I certainly do not answer all my mail. Most are simple requests for a sample copy of Global Mail. These are the easiest to process, and I do manage to answer with a copy within a week. I get a lot of zines in trade, and I only acknowledge them with the next copy of Global Mail, unless it is something out of the ordinary, or a big improvement or change from the last version I saw. The people who write for specific items, or have specific questions take the longest time to answer. I refer to this as a pile of “lingering mail,” and it may take up to three months to answer some of it. I only have maybe ten or twenty regular correspondents.

Occasionally I do a big mailing of printed matter, hand made postcards, tubes of art, or boxes. I used to enter almost all mail art shows, and this is something I would like to get back in the habit of doing.

I’ve been doing much better about answering mail in the last year. I actually have a system in place that keeps the pile low and keeps me from getting bewildered by it. Strangely, those who send snail mail probably will get their questions answered before those asking through email, just because my system for email is not very efficient. Email builds up in the computer until I combine all my logs, print them out (about once every 6 weeks), and then answer. Whew! What a lag time. I also lost about 3 weeks of email once when my motherboard crashed. Such is life in the electronic age.

RJ : Do you like this electronic age?

Reply on 28-7-1995 (diskette)

gm19
AP: Yes, I feel very fortunate and blessed to have grown up in this part of history. I find it ironic that the first little box, the TV (which appeared miraculously in my mothers generation, and is what I grew up with), would be replaced by another box, the personal computer. I feel saved by this transformation of the box I watch every day. Instead of being a passive observer in front of the TV, and feeling alienated from the existence I am programmed to lead, I have created a real world, real networks, and real friendships. I am enthralled by the possibilities for a real development of global community. It’s so different than the image presented on TV for our consumption. It actually is a free exchange of ideas.

Now that I have experienced this electrical connection, I feel I am electricity itself, hurling through the universe.

RJ : Because you are active with snail-mail as well as electronic mail, the archiving of all the information you get must be a problem too. How do you deal with that?

Reply on 19-9-1995

AP: I don’t, sorry to say. I know that is going to drive everyone berserk. I’ve received numerous lectures on the topic, and all I can say is that it is not an activity I’m willing to take on. The e-mail I receive gets processed and stored for approximately two months. I do save email numbers when I have the energy, which I compile into an email directory. I also record all project notices in Global Mail. Other than transferring and recording the useful info, I have no interest in electronic data.

Tangible mail (as opposed to electronic data), gets dumped as well. You have to remember that the bulk of my mail consists of requests for Global Mail, notices for mail art projects, zines, and some mail art. All addresses get recorded into my mailing list, and notices get put into the Global Mail database and then dumped. I love keeping electronic records, and do feel that this is an important information base. Zines get recycled to other people, with the overflow going to John Held Jr. , the Chicagoland Great Lakes Underground Archive at DePaul University Library. Mail art gets saved or recycled. I try to reuse all decorated envelopes, and also use any stickers or miscellaneous small artworks in the mail I send out.
There is a collection of mail art I am hoarding (not archiving). I honestly don’t know what to do with it. I am waiting for the right person to come and take it off of my hands. I recently gave away all my chain letters to one person, and also gave away a lot of my artistamp collection to a couple of interested individuals. I have a good collection of political mail art I would like to save for posterity, but I manage to fit it in a few small boxes. I am open to anyone going through and taking any of what I presently have. I don’t think it’s right to hang onto things. I believe everything should be passed on after use. “I RECYCLE MAIL ART.”

(Because Ashley is going to move to San Francisco, she asked me to postpone the sending of the next question and to wait till she will contact me in January next year. She writes that she will then publish a BIG notice in the new issue of GLOBAL MAIL. So I have waited for her next mail to come….)

RJ : After your move from Chicago to San Francisco, the first questions that come up in my mind are: “Is it a big difference to live in another city?” and “Do you plan to issue a new copy of Global Mail?”. But I also know that moving and starting with a new part of ones life takes a lot of energy. I will wait for the answer to these questions till you are ready to answer them.

(On November 10th I received from Ashley’s new address her booklet “A TRAVEL DIARY” with on the cover “clean restrooms this exit”. In this booklets she describes her journey from Chicago to San Francisco together with her brother and cats. The text is written very direct and tells a lot about herself. The booklet documents the period 2 to 6 October, and was published on her birthday, the 19th of October).

Reply on 11-1-1996

(Together with Ashley’s answer I also got 10 copies of her new edition of Global Mail. The magazine looks better every time, and contains lots of info’ too. I am just one of the distributors of this magazine called “The hole to the underground”).

AP: Will there be a new issue of Global Mail? Yes! I managed to move and put together a new Global Mail. It’s a wee bit late due to the fact that I ran out of funds to mail it, but given the circumstances, I’m really happy I managed to pull it off. There will continue to be new issues as long as I can afford to produce them. At the point I can no longer afford production, it will probably continue as a web page, which is very inexpensive to maintain.
Has moving to another city changed things? Yes! The most important change has been the weather. I have a nice place in the sunny mission district. It’s barely been cold here yet. At night it goes down to 48F and during the day it gets up to 65F. It’s quite a big difference from Chicago. I’m used to rushing about to get out of the severe weather. I no longer have to rush, and can stroll through life. Its very enjoyable and life is pleasant here. Anything I need is within walking distance, and there are about five open markets within a block of my home.

I’ve experienced an earthquake, lots of fog, been up and down the coast, across bridges, in between mountains, stood at the edge of a cliff, been to islands, and experienced walking up a big hill. In general, I’m trying to make each day an adventure as best I can. Oh, I also have a new job in Berkeley, at a computer software firm.

I’ve begun many new social relationships with long time correspondents, which has been a very fun process. I’ve been meeting correspondents at the rate of two a week. Obviously I can’t keep up that kind of pace (nor would I want to!), but it has been exhilarating.

It’s amazing what a new city can do for the soul.

RJ : Well, Ashley, its time to end this interview. I thank you for your time and the chance to interview you in this important period of your life.

Address mail-artist:

Ashley Parker Owens,
(GLOBAL MAIL)
NETLANDIA
P.O.Box 410837
SAN FRANCISCO
CA 94141-837
U.S.A.

E-Mail : soapbox@well.sf.ca.us (old)

People who want to get the current issue of Global mail can get it by sending $ 3,00. For a sample back-issue send 2 IRC’s or (inside the USA) a $ .55 stamp.

If you have a WEB-access, look at Issue #13 at

<http://www.well.com/user/soapbox/eglobal.html>

Explaining the concept of this blog

This new blog actually should be the central point of all my digital activities. So links to all blogs and websites that I already have and are still alive. beside that also blog-postings to major places and activities that I am involved in. Only one goal and that is to make the information better accesible. The Internet turnes into a chaos without good structures, and I am just trying to make a structure that I can keep up with. The result might be for you that you can find things again and don’t get lost.

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Mail-Art and Art

Mail-Art for me is a conceptual artform in which I feel at home. Besides that I gradually have created also lots of art (drawings, pantings, silkscreen prints, etc) which I sometimes also share within the Mail-Art network.

A portfolio of my work can be found at:

When Mail-Art and Art collide it comes in the form of e.g. acrylic painted envelopes which I actually send out thoughtout the world. They have landed in quite some collections and are sometimes exhibited too.