Bibliozine, Part VII "Legendary (and legendarily unknown) artist Ray Johnson plotted his apparent suicide like one of his practical jokes. Now he's a celebrity." Locust Valley Leader. January 20, 1995. A short blurb in Ray's hometown paper portrays him as a "frequent user of the Locust Valley Library where he seemed to know everyone and he loved to wander around local beaches." Marks, Peter. "Friends of an Enigmatic Artist See a Riddle in His Death." New York Times. February 12, 1995. Page 37. "For four weeks his body has lain in the morgue of the Suffolk County Medical Examiner's Office in Hauppauge, as a lawyer hired by his two closest friends searched for relatives who might inherit his estate and decide what to do about his burial...The lawyer, John Ritter of Locust Valley, has found 11 cousins as far away as California." R.M/S.S. "Artist Found Drowned." East Hampton Star. January 19, 1995. Page I-1, I-2. "A friend of Andy Warhol, Robert Rauschenberg, John Cage, and other leading figures of the New York artistic scene, Mr. Johnson nonetheless avoided any chase for personal fame or fortune, according to Mr. Bourdon. He would typically hold impromptu displays on sidewalks, in railway stations, or just turn up at a collector's house with a bundle of work under his arm." Trebay, Guy. "Backstroking into Oblivion." Village Voice. January 31, 1995. 23-24. "Considering the death of his long time friend last week, Bourdon added, 'It's just too peculiar. There was no note. There was no particular reason. There's really no explanation.'" Several of Johnson's letter accompany the article. Vogel, Carol. "Ray Johnson, 67, Pop Artist Known for His Work in Collage." New York Times. January 19, 1995. B11. "Ray Johnson, a collage artist who was a pioneer in using images from popular culture, died on Friday in Sag harbor, L. I. He was 67 and lived in Locust Valley, L. I." Winslow, Olivia. "Pop Artist Ray Johnson, 67, Mysterious in Life and Death." Newsday. January 17, 1995. "'Ray lived very humbly,' said Sheila Sporer, a Sea Cliff artist. 'I talked with his neighbors...they had no idea of who he was and what he did.'... Said Sporer: 'He will be missed. It really is an end of an era with his passing.'" Bibliozine #31 (March 1995) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. Winnes, Friedrich; and Wohlrab, Lutz; editors. Mail Art Szene DDR 1975-1990. Haude & Spenersche Verlagsbuchhandlung, Berlin, Germany. 1994. 124 Pages. (ISBN 3-7759-0309-9) Price: DM 48. This is an extraordinary book that has received very little exposure even in Mail Art circles. Chuck Welch showed it to me when I saw him in Queensbury, New York, where we were on a panel at Adirondack Community College in February 1995. I got that funny feeling in the pit of my stomach that all collectors get when they think they've been excluded from a secret. Previously, I had seen an article on the same subject published in a German art periodical (I stumbled upon it in the Art Library of the National Academy of Art in Prague, Czech Republic), but I never followed up on it. So along comes Chuck, not only to remind me that I'd done nothing about obtaining the German periodical, but hadn't even been aware of this outstanding new book. Fortunately, I wrote to one of the editors, Birger Jesch, who has been an occasional correspondent of mine over the years, and he provided me with a copy of this handsome oversized paperback book. If you're interested in the work, I suggest you contact him, as I can find no address for the publisher, or the price. Perhaps the ISBN number will be of assistance in finding it through other sources. But if you are at all interested in Mail Art, and especially the role it played in allowing artists access to information in a formerly repressive society, run, don't walk, in finding out more about Mail Art Szene DDR 1975-1990. Another reason I'm so fond of this book is that it throws the spotlight on one of the most extraordinary contributors to the Eternal Network; the late East German Mail Artist Robert Rehfeldt, who died in September 1993. Having no access to photocopying, Rehfeldt distributed wonderful posters full of visual poetry, which he produced by lithography. Mail Art never look so good in the wrap of this traditional medium. His wife, Ruth Wolf-Rehfeldt, is also a practising Mail Artist, and throughout the seventies and eighties, they formed one of the most powerful husband and wife teams in the Network. The works of the Rehfeldts are among the most prized in my collection, and to see much of their work reproduced in book form is a great gift, and personally very moving. The book is a design wonder. It's chock full of reproductions in red and black, and the use of the red to highlight is wonderfully effective. Photographs, postcards, rubber stamps, posters, artist postage stamps, and the like, are illustrated in highly creative ways, and the book has a wonderful "feel" to it. It's an incredible job of documentation, and it really makes one think of all the Dada and Fluxus materials that have been reproduced in so many texts. Not because they look dated, rather that they look so classical. It's rare that Mail Art is presented in this fashion; photographed well and placed into a unique design structure. Seeing the graphics in this book is like seeing the future historification of Mail Art today. And I mean that in a good sense. It becomes apparent that Mail Art stands up to visual and conceptual scrutiny, looking every bit as innovative as Dada and Fluxus. There has never been any doubt in my mind that Mail Art is the step beyond Fluxus in the avant-garde. This is just reconfirmation. But how nice, after years of neglect, to see it manifested. Besides graphics, there is alot of text material, and it is organized very well. The drawback is that it is in German. But even I, knowing no German, can follow along, because there are many proper names and dates mentioned, enabling one to follow along in the train of thought. English, being the primary language in Mail Art, is well represented in the numerous visuals that accompany the text, so the English reader will not feel completely isolated. The textual information is divided into two section: primary texts ("Authentische Texte") taken mainly from exhibition catalogs published in East Germany, and contemporary reflections on the Mail Art experience ("Retrospektive Texte"). The work also includes a forward by Friedrich Winnes and Lutz Wohlrab, and an introduction by Swiss Mail Artist Manfred Vançi Stirnemann. The retrospective essays are written by Robert Rehfeldt (1976 and 1978), Klaus Werner (1978), Jürgen Schwinebraden (1979), Joseph W. Huber (1980) and Walter G. Goes (1985). Contributing to the retrospective text are Klaus Staek (concentrating on the Mail Art works of John Heartfield), West German Klaus Groh, Dutch Mail Artist Kees Francke, Birger Jesch, Lutz Wohlrab, Thomas Kumlehn, Friedrich Winnes, Heidrun Hannusch, Uwe Dressler, Gerd Börner, and Swiss Mail Artist H. R. Fricker. Although graphics are scattered throughout, there are two main sections. The first features the work of 91 East German Mail Artists including, the B.E.R.M. group, Guillermo Deisler, Michael Groschopp, Joseph W. Huber, Stephen Jacob, Birger Jesch, Detlef Kappis, Laus Kux, Manfred Martin, W. W, Neumann, Robert Rehfeldt, Rolf Staeck, Joachim Stange, Friedrich Winnes, Sabine and Lutz Wohlrab, and Ruth Wolf-Rehfeldt. Many of the names are totally unfamiliar to me, and I suspect, had limited foreign contact. It's nice to see a wider selection of East German work then one would have thought existed. The other section of graphics contains work from Mail Art projects and exhibitions. Each is documented in detail and serves a dual purpose. Not only are we given a sampling of the graphics announcing and contributed for each project, but information is provided as to dates, location, organizer, and number of contributors. Some 66 projects and exhibitions from 1975 to 1990 are documented in this manner, showing a range of activity in Eastern Germany heretofore unknown. For more information concerning the book, Mail Art Szene DDR 1975-1990, write: Birger Jesch, Friedhofstr. 15, 99444 Blankenhain, Germany. Bibliozine #32 (April 1995) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. Modern Realism gallery is currently featuring the work of over two-hundred artists that have submitted work for the Faux Post artist postage stamp project. The next show, opening April 15, will display over one-hundred and twenty publications by the Cuban art group Banco de Ideas Z. The Editor of Bibliozine and the Director of the Stamp Art Gallery (San Francisco), Picasso Gaglione, collectively known as the Fake Picabia Bros., will perform at the Musée de la Poste in Paris, France, May 3, at the opening of the exhibition, L'Art du Tampon (Art of the Rubber Stamp). Recent Articles by John Held, Jr. Held, John, Jr. "They Will Go Underground." CIRCA: The Texas Based Journal of Contemporary Art. Number 2. March 1995. Page 5-8. (Available for $6 + $1.50 shipping and handling, from: CIRCA Order Department, University of Texas at Arlington, Box 19089, Arlington TX 76019-0089) The essay deals with a quote from Marcel Duchamp, who insisted in both public pronouncements, and in a 1962 conversation with my mentor, art collector Jean Brown, that the serious artist hoping to retain the spiritual qualities in art, as opposed to mainstream artists producing for the marketplace , "They will go underground." In this article I highlight three areas of the alternative arts in which these artists have retreated from the mainstream to produced work with authentic resonance: the zine scene, telecommunication networking, and mail art. Special attention is given to three Texas artists: Daniel Plunkett (editor of ND magazine), Honoria (Cyperspace artist), and Al Ackerman (Mail Artist and zine publisher). Duchamp himself lead this retreat. "Duchamp rejected the professional life of the painter. He was dependent on no public or dealer. Instead he was free to operate outside the system to pursue his own concerns on a trajectory of his own devising. The Large Glass was begun in 1912 and eventually left unfinished in 1923. His final major work, Etant Donnés, was begun surreptitiously in 1946 and completed in 1966. Everyone thought Duchamp had given up art, but all the while he was working in isolation and few were aware of his activities. I conclude the article by saying, "The fact that new media are appearing just as Duchamp anticipated, that artists are increasingly turning to conceptual rather than visual concerns, and that they are more likely to be concerned with aesthetic rather than monetary ends indicates that a new revolution in art may indeed come from an ;untraditional source. This is not to say that the more academic media of painting and sculpture are dead or that works of note in those media are not currently being produced, only that the next great leap affecting the direction art in the next century is just as likely to come from a currently unappreciated source as a universally accepted one. Those interested in the future course of art must keep eyes open, prejudices to a minimum, and if necessary, become personally involved. The future revolution in art may well be televised, but it will not emerge at the forefront until it has marinated fore a while away from the mainstream." Held, John, Jr. "Interview With Allan Kaprow." ND. Number 19, March 1995. Page 37-39. (Available for $4 from ND, PO Box 44, Austin TX 78765) Editor Daniel Plunkett has been putting out consistently interesting issues of ND for many years now, and the current issue is by far the most professionally produced yet. This is one of the best sources for independent music and mail art, not only for feature articles, but for audio and print reviews, and a listing of Mail Art projects and exhibits. The current issue contains an interview I did with performance art pioneer Allan Kaprow, best known for his "happenings." During the interview I ask Kaprow about the first happenings, his study with art historian Meyer Shapiro, painter Hans Hoffman, and multi-media artist John Cage. I was especially interested in his relationship with the Fluxus artists in Cage's class at the New School for Social Research in 1957. An especially revealing moment occurs when I encourage him to talk about George Maciunas, the point man for the Fluxus movement. Allan Kaprow: Well, George and I couldn't get along. Indeed, he approached me as he did everybody else - to sign my entire career away to him, and I thought this was a Fluxus joke. So I said, "Up yours." And he took it seriously. But he was a marvelous man. I mean the energy and cohesion that he gave to a disparate number of artists around the world was extraordinary. So i don't say this unpleasant part of history with any kind of rancor. It's like oil and water. I go on to ask Kaprow his opinion on the current state of performance, and his feelings about the retrospective of his actions that were being held at the University of Texas at Arlington. Kaprow has pursued an illustrious teaching career at the University of California at San Diego, and is one of our most articulate contemporary artists. In the next issue of ND, there is a interview I did with John Cage planned for publication. Held, John, Jr., and Kamperelic, Dobrica. "Interview with John Held, Jr." ARTeFACT (Beograd, Yugoslavia). Number 1, March 1995. Page 35-38. (Available for $5 + $3, c/o Dedalus Publishing, Narodnih Heroja 10, 11070 Novi Beograd, Serbia, Yugoslavia) This new Serbian art journal has a wealth of Mail Art information in it as a result of contributing editor Dobrica Kamperelics' involvement. There are articles on Gutai and Dutch Mail Artist Ruud Janssen, as well as interviews with poet/musician Henry Rollins and myself. In the interview I talk about my beginnings in the Network, Modern Realism, experiences with Fluxus, the Fake Picabia Brothers, and my Fall 1994 visit to Yugoslavia. It's one of the most extensive interviews published about me in several years, and updates those previously published. Bibliozine #33 (April 1995) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. Modern Realism gallery is currently featuring the work of the Cuban art group Banco de Ideas Z. Over one-hundred publications published the past two years are on display. The exhibiton continues until June 1. The Editor of Bibliozine and the Director of the Stamp Art Gallery (San Francisco), Picasso Gaglione, collectively known as the Fake Picabia Bros., will perform at the Musée de la Poste in Paris, France, May 3, at the opening of the exhibition, L'Art du Tampon (Art of the Rubber Stamp). Ray Johnson Swims in the Mainstream: In Bibliozine #30 I noted some of the early reports Johnson's death in local newspapers. The unusual circumstances of his death and underground reputation have generated extensive coverage of his life and work in major general circulation magazines and art journals. A listing of these periodicals follows. Hurst III, John. "A Performance-Art Death: Legendary (and legendarily unknown) artist Ray Johnson plotted his apparent suicide like one of his practical jokes. Now he's a celebrity." New York Magazine. March 6, 1995. Page 24-25. While the bulk of the article goes over the mysterious circumstances of his death, there are facts here on Johnson's personal life that have never before seen print. Most revealing is the admission of artist Richard Lippold, a visiting lecturer at Black Mountain College in 1948, who recalls that, "Ray was really a beautiful young man, and I was quite fond of him, so I summoned him to New York...He and I were lovers for the next 30 years until I dissolved int. I'm bisexual, and I was breeding three children, so it was difficult for us to live together." The article is accompanied by a photograph by Marcia Resnick, a 1955 Elvis Presley work by Johnson, and a reproduction of Ray's, "Ray Johnson: A Brief History of Correspondence Art," credited to the Feigen Gallery, but in actuality, a postcard invitation from the 1982 Modern Realism based on Johnson's work. Robinson, Walter. "Obituaries: Ray Johnson." Art in America. March 1995. Page 128. A short notice in this influential publication describes Johnson as a "collagist, Posp art precursor and leading practitioner of 'mail art.'" The long paragraph notes his Detroit beginnings, his schooling at Black Mountain College, his 1948n move to New York City, and exhibitions at North Carolina Museum of Art (1976), the Nassau County Museum of Fine Art (1984), and Moore College of Art and Design (1991). A nice photograph accompanies the obituary. "Returned to Sender: Remembering Ray Johnson." Artforum. April 1995. Page 70-. Perhaps the most appropriate Johnson tribute to date, this extended memorial to Johnson is composed of essays by David Bourdon ("Portrait of the Artist as a Young Mailman"), Robert Pincus-Witten ("Bother Ray"), Nam June Paik ("Something about Nothing"), Chuck Close ("Golf War"), Jill Johnson ("Between the Buttons"), and James Rosenquist ("R.S.V.P."). While no fan of this overpuffed journal, this is the way to remember Johnson: give some of his closest friends and correspondents a voice and let them choose their favorite Johnson letter to illustrate the essay. These personal accounts leave no room to doubt Ray's absolute blending of art and life. It's been said of others, but no less true for Ray: he was his own best work of art. Anonymous. "In the Air." Art and Auction. April 1995. Page 14. While stating that "Johnson achieved a kind of cult status in the late 1960s with his 'New York Correspondence School,'" the item tempers this by saying that he was "better known for his amiable ubiquity than for his artistic accomplishments". Perhaps more telling is the estimation of his market worth in this periodical, which deals primarily in these matters. "What seems cetain, though, is that Johnson's work, which never brought much on the market while he was alive, is now arousing new collector and critical interest as a result of the still-puzzing circumstances of his death." Other Johnson Tributes: Baroni, Vittore. "Ray Johnson Lives." Arte Postale! Number 69. March 1995. Special Ray Johnson memorial issue with essay by veteren networker Baroni, and reproduction of Johnson's letters. 12 pages. Bleus, Guy. "In Memory of Ray Johnson." A Networking Project by Guy Bleus of fax, internet and mailed-in works, at the Zuivelmarkt, Hasselt, Belgium, Febrary 22-March 22, 1995. Catalog. Bibliozine #34 (May 1995) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. Copies of the editor's book, Mail Art: An Annotated Bibliography (Scarecrow Press, 1991. 582 pages), are now available directly from Bibliozine at half-price. Send $25 , cash or check to: John Held, Jr., 1903 McMillan Avenue, Dallas, Texas 75206. Shipping and handling $3.50 (U. S. & Canada). Foreign orders add $5 surface or $10 airmail). Issues #1-25 of Bibliozine have been compiled and are available for $15. Nagiscarde, Sophie, editor. L'Art Du Tampon. Musée de la Poste (34 Bd. de Vaugirard, 75015 Paris, France). 96 pages (ISBN 2-905412-26-7) $30. (Available from Stamp Art Gallery, 466 8th Street, San Francisco, CA 94103) On May 3, 1995, Picasso Gaglione and I performed at the opening of the Musée de la Poste (National Postal Museum) exhibition, L'Art Du Tampon (The Art of the Rubber Stamp), in Paris, France. This historic exhibition is notable not only for gathering and displaying the most comprehensive collection of rubber stamp art ever assembled, but also for the accompanying catalog. The following excerpt from the Fake Picabia Brothers Europe 1995 Travel Diary reveals a brief description: "Two-hundred copies of the exhibition catalog have been shipped for the opening. It's an historic text on the medium. There is a page listing three-hundred and sixty eight names of those included in the exhibition. The catalog is broken up into sections: a historical survey by curator Sophie Nagiscarde; an essay on Fluxus and the use of rubber stamps by the group by Jon Hendricks; and a description of the Mail Art Network by Michel Giroud. Significant works are represented by color reproductions, but the majority of the catalog is designed in striking black, white, and red. This is the most important work on rubber stamps since Thompson and Miller's The Rubber Stamp Album, published in 1978." While the Thompson and Miller work focused on a general history of the rubber stamp, with significant mentions of their artistic use, the Musée de la Poste catalog devotes itself entirely to the latter subject. Although there are some nineteenth-century examples of rubber stamp usage, such as Indian textile stamps, the main thread of the exhibition and catalog is the concurrent use of rubber stamps by artists who participated in the twentieth-century avant-garde. The earliest revealed use of the rubber stamp in Modernist Art is in the 1913 book, Jeu en Enfer, by Russian Zaum Artist Velimir Khlebnikov . Another pair of Russians, Kasimir Malévitch and Olga Rozanova, were illustrating books with rubber stamp impressions in 1913. Fernand Léger is represented by an especially interesting work depicting a wine glass and bottle. German Dada artists Kurt Schwitters and Raoul Hausmann contribute works done in 1919. In the same year, Marcel Duchamp incorporated a rubber stamp in his well-known work, Tzanck Check. The Bauhaus contributed several artists who utilized rubber stamps including Oskar Schlemmer (1922) and Karl-Peter Röhl (1919). The Italian Futurists are represented by two works created in 1924. Two artists are singled out for their contributions in the fifties. Arman, a member of the Nouveau Realisme group is particularly well represented by a large (151x259 cm) work done in 1959, which uses the rubber stamp as an applicator of abstract design. Andy Warhol is revealed as a real fan of the rubber stamp, and as an effective carver of rubber, many of which are gathered on one sheet in a 1959 work. The exhibition displays the actual carvings, on loan from the Warhol Foundation. Ray Johnson, the recently deceased avatar of Mail Art, is shown to advantage not only in his letters, but in his boxed collages. His use of rubber stamps helped spawn the floodgates of the medium's activity in the sixties and seventies through his obsessive use of the postal system. His rubber stamps were always verbal not visual. They served to advertise his meetings, fan clubs, and reincarnated schools (Budda University, Silhouette University). In a 1977 video interview I conducted with the artist, Johnson said his use of the stamp, "Collage by Ray Johnson," was used at the conclusion of the collage "ceremony," much as a letter was licked and sealed. One of the most in-depth sections of the catalog is given to the use of rubber stamps by the Fluxus artists. Emmett Williams, Ben Vautier, Joseph Beuys, Wolf Vostell, Robert Filliou, Daniel Spoerri, Yoko Ono, Nam June Paik, John Lennon, George Brecht, Robert Watts, Bici Hendricks, George Maciunas, Milan Knizak, and Ken Friedman are discussed in a detailed essay by Jon Hendricks, Conservator of the Gilbert and Lila Silverman Fluxus Collection, on the use of the rubber stamp in various mailings, projects, and multiples. Especially impressive are the collection artist stamps in their original racks loaned by Ben Vautier and Ken Friedman. The use of rubber stamps by the Fluxus artists reveals that for the first time artists cast the medium not in a supportive role, but as a primary artistic activity. A number of mainstream artists are also represented by works in the catalog including Gilbert and George, On Kawara, Lawrence Weiner, Jenny Holzer, Richard Artschwager, Sol LeWitt, Sigmar Polke, John Baldessari, and Tony Cragg. Cragg's contribution is an especially effective sculptural work from 1994, "Petite Famille," a large wax sculpture of a rubber stamp grouping. The Mail Art Network is discussed and shown to have brought the art of the rubber stamp to an international audience. Indeed, this exhibition and it's catalog not only places Mail Art in a continuum, but shows how the movement has enlarged not only the vocabulary of rubber stamp activity, but the twentieth century avant-garde. Bill Gaglione, Anna Banana, Guy Bleus, Robert Rehfeldt, Guy Schraenen, Klaus Groh, Artpool, Geza Perneczky, Julien Blaine, Clemente Padin, Paulo Bruscky, Horacio Zabala, Image Bank, Western Front, and many others are shown to have made important contributions. Stempelplaats, the Dutch rubber stamp art gallery, directed by Aart van Barneveld; Zona Archives in Florence, Italy, headed by Maurizio Nannucci; and the American magazine Rubberstampmadness are shown to have been umbrellas under which rubber stamp activity has flourished. The catalog is highly recommended to anyone with an interest in the rubber stamp medium. Widespread activity in the United States has reduced the rubber stamp to a craft fair attraction. This catalog returns the rubber stamp to it's rightful place as an important tool in the arsenal of the conceptual artist. #35 (JUNE 1995) John Held Jr., Editor Modern Realism Archive Bibliozine is an irregular review periodical published in connection with the editors' research on international networker culture. If you have materials that may be of interest to the project, please send them to the above address. Especially looking for books and articles on networking and it's various aspects: zines, mail art, telecommunication, computer bulletin boards, fax, cassette culture, photocopy, performance, artist collectives, artistamps, rubber stamp art, fluxus, and other aspects of collaborative avant-garde cultures. Please notice our new ISSN number issued by The Library of Congress this month. Cite this number when requesting Bibliozine through interlibrary loan systems. Issues #1-25 of Bibliozine have been compiled and are available bound for $15. Copies of the editor's book, Mail Art: An Annotated Bibliography (Scarecrow Press, 1991. 582 pages), are now available directly from Bibliozine at half-price. Send $25 , cash or check to: John Held, Jr., 1903 McMillan Avenue, Dallas, Texas 75206. Shipping and handling $3.50 (U. S. & Canada). Foreign orders add $5 surface or $10 airmail). The editor will be speaking at the Underground Press Conference in Chicago, IL, August 18-20, 1995. Write Mary Kuntz Press, PO Box 476617, Chicago, IL 60647, for more details. Continue to Part VIII |