![]() ![]() ![]() Ray Johnson and Richard C’s mail art to Lucy Lippard features these artists’ signature wordplay and self-referential humor surrounding a collage of a face, composed of two textured spheres for eyes and cutout lips. Ray Johnson (1927–1995, American) and Richard C (b. Archives of American Art, Smithsonian Institution. Ray Johnson mail art to Lucy Lippard, 1969 May 3. ![]() You have quite a few debts to pay to society, having introduced mail art (sexist!) and encouraged the birth of the conceptual mutant and mystified the Post Office and dematerialized materialism.” In any case, Ray, you are An Original, and now there are too many quick to copy. ![]() Other times I was opposed to doing what I was told. As she stated in a letter to Johnson, published as part of a feature on the New York Correspondence School in the Spring 1977 issue of Art Journal, she had an ambivalent relationship to Johnson’s prompts: “Sometimes I’ve followed your instructions and dutifully forwarded esoterica around the city or the block or the world. Although Lippard wrote about Johnson’s work and participated in the mail art movement, she chose not to contribute to the show. As participants in Johnson’s “correspondence school” often forwarded mail to other correspondents, Frye has opted to send this request along to Lippard. However, the content of the letter pertains to the curator and critic Lucy Lippard. Frye to contribute to his “correspondance ” by “sending letters, post cards, drawings and objects” to Marcia Tucker, the curator of the Whitney Museum of American Art’s exhibition of New York Correspondence School mail art mounted later that year. With this 1970 letter, Ray Johnson-known as the initiator of the mail art movement-invites Dr. He also included a ticket stub, which he requested to be sent to the prominent mail artist Ray Johnson, who was curiously left out of the exhibition despite the large black, white, and gray portrait that he was known to be making of Wagstaff at the time. Rather than filling out the forms, he instead affixed materials ranging from a piece of foil stamped with the word “fantasia” to a book of matches that has the potential to ignite a fire in the archive. In this mail art collage, Brecht returns loan paperwork to the Wadsworth Atheneum for its exhibition Black, White, and Grey, which would come to be heralded as an important early exhibition of minimal and conceptual art curated by Sam Wagstaff. Brecht’s multifaceted practice aimed to disrupt the bureaucratization of daily life by attuning participants to the materiality of everyday things. Mail art (Wadsworth Atheneum loan agreement) to Sam Wagstaff, 1964Īrtist and composer George Brecht was a core member of Fluxus-an international group of loosely affiliated conceptual artists, many of whom made mail art. He laser printed the collages, reducing them to five square inches and selling them by mail-order subscription. His best-known works are from his Art for Um series, collages of Artforum covers that satirize the elitism and commercialism of the magazine. After moving from Chicago to New York in the late 1970s, he began hocking postage-stamp-sized collages on the street in SoHo, thus participating in mail art was a natural progression. Archives of American Art, Smithsonian Institution.įlyer for Art for Um series to John Evans, 1993īuster Cleveland was best known for his neo-Dadaist collages and work in the Mendocino Area Dadaists (M.A.D.) and Bay Area Dadaists (B.A.D.) movements. Realizing the medium’s limitations, he concludes: “It’s difficult to put a painting in a mailbox.”īuster Cleveland mail art to John Evans, 1993. In this mail art flyer sent to the critic and curator Lucy Lippard, who was an important proponent of conceptualism, he recounts a young artist’s gradual move away from painting. Eventually abandoning paint altogether, Baldessari turned to “intermedia” practices such as performance, installation, and mail art, which he used to humorously reject art world hierarchies. However, in 1966 he started to integrate text and photography into his paintings as a means of questioning the primacy of the medium among the fine arts. “The Best Way to Do Art” flyer to Lucy Lippard, 1971Ĭonceptual artist John Baldessari began his career as a painter. John Baldessari mail art to Lucy Lippard, 1971.
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