Bibliozine, Part VIII New York Correspondence School of San Francisco Artistamp Tour: A Bibliography From May 31-June 7, 1995, I was on the USA West Coast attending the opening of Faux Post, an international artist postage stamp (artistamp) exhibition, which I curated in Salem, Oregon, and It's in the Mail:  Artistamps and the Mail Art Movement, curated by Harley at the California Museum of Art, Santa Rosa, California.  In attention to seeing a wide variety of artistamps, I met many of the field's pioneers, including  Anna Banana, James Felter, and Ed Varney, who traveled from Vancouver, Canada, and Bugpost from Seattle.  In San Francisco, I performed and exhibited at Picasso Gaglione's Stamp Art Gallery, visited with conceptual artist Mike Dyar,  Factsheet Five publisher R. Seth Friedman, and viewed a lot of informative alternative art materials at bookdealers Steven Leiber, and John Campbell of Lure.  The following bibliography is a reflection of materials relevant to the trip. Ace Space Co.  On the Road/ 1971/72.  Coach House Press, Canada.  (1972).  8 Pages. This is an item I acquired from Steven Leiber (37 Toledo Way, San Francisco, CA 94123), a book dealer, who having previously specialized in Fluxus materials, is now branching out to include classic Mail Art (1950-1979).  This item appealed to me, because I have been interested in "touristic" Mail Art activities over the past ten years, and this is documentation of one of the first such manifestations.  "Ace Space Company, started in the fall of 1969, has worked primarily to develop structures capable of creating gestalt communities whose members reflect technically and conceptually diverse points of view."  An early and important document reflecting the real-time meeting of international postal art participants. Bugmaster General.  The Standard Artist Stamp Catalogue.  PMTTTD Corporation, Seattle, Washington.  Fourth Edition, First Printing.  1995.  Unpaginated.  Available for $50 from the author (4067 Letitia Avenue  South, Seattle, WA 98118-1137)       Nearly three-hundred pages long, The Standard is "the only listing of stamps issued by artists, with extensive information and a picture of nearly every major stamp design."  This is one obsessive document that could only have been prepared by a former child postage stamp collector refusing to grow up.  And I'm glad Dominique didn't.  For he has given us the equivalent of the Scott's Standard Catalouge of Postage Stamps for the artistamp set.  It's detailed, descriptive, demanding, and devotional.  Each stamp from each sheet by each artist is lovingly described as to color, size, perforation size, denomination, and gum.  Best yet is that the stamps are also reproduced as well as dissected.  This makes for a rich and rewarding  journey through the field.  An effort that goes well beyond documenting the rampant activity of the field, The Standard provides a visualization of artist postage stamp activity, and establishes itself as a pathbreaking  field work.  This is the latest installment of a five-year project slated to end in 1997. Edison, Russell (Illustrated by Ray Johnson).  What a Man Can See.  The Jargon Society, Penland, North Carolina.  1969.  Unpaginated.  Orange Dust Jacket. What Mail Artist can pass up an early, if obscure, item by Ray Johnson?  I couldn't.  The illustrations by Johnson to the fables of author Edison seem to reflect his "moticos" period, illustrated in gatherings of bold primitive forms.  This item, acquired from dealer Steven Leiber, is but one of many Johnson artifacts, primarily letters, currently available through him.  Felter, James Warren.  International Directory of Artistamp Creators.  Five/Cinc Unlimited, West Vancouver, BC, Canada.  2nd Edition.  1995. 100 Pages.  (ISBN 0-9697355-0-3).  Available for $50 from the author (2707 Rosebery Avenue, West Vancouver, BC, Canada V7V 3A3) Felter organized Artist's Stamps and Stamp Images in 1974, and twenty years later he is still an activist in the field.  His latest project is the compilation of artists producing artistamps, a listing of major collections, and the enumeration of exhibitions.  Active practitioners, determined by their participation in major exhibitions and inclusion in major collections, are given a brief description, collections in which work is included, and exhibitions participated in.  There is a listing of additional artists, and an index of artists by country, which number forty-one.  Major collections have been identified and are described by number of artists they represent and total number of works in the collection.  Most collections have been established by practitioners of the field, with some institutional exceptions.  This is by far the greatest resource in the field as to the identification of artists active in the field, and the level of their participation.  This will be an especially useful tool for future scholars seeking to determine artists that participated in the explosive growth of the field, and the major study centers that archived their activity. Friedman, R. Seth, ed.  Factsheet Five:  the Definitive Guide to the Zine Revolution.  San Francisco, California.  ISSN 0890-6823.  (Available for $3.95 from the editor at P. O. Box 170099, San Francisco, CA 94117-0099, or at a newsstand near you.)  Currently at issue fifty-vive and nearing one-hundred and fifty pages, Factsheet Five remains the basic resource guide to the contemporary state of the zine network.  Founded by Mike Gunderloy in 1982, it underwent a rocky transitional period before coming under the able tenure of publisher and editor R. Seth Friedman, who I had the pleasure of meeting for the first time during this West Coast trip.  In addition to thousands of zine reviews, the periodical contains feature stories, and other essential information acquainting the reader with zines and zinedom.  A key networking document.   Gaglione, Picasso, and Held, Jr., John.  The Fake Picabia Bros.  Stamp Art Editions, San Francisco.  1995.  58 Pages.  (Available for $20 from the Stamp Art Gallery, 466 8th Street, San Francisco, CA 94103) Contains a day-by-day account of the author's collaborative tour of Europe from May 1st to May 11, 1995.   "Fake Picabia Brothers Europe '95:  A Travel Diary, " by John Held, Jr. is the lead text.  This  is accompanied by photographs taken at the Musée de la Poste in Paris, France, at the opening of "L'Art Du Tampon.", an exhibition surveying the use of rubber stamps in Modernist Art; at the Administration Center of Guy Bleus, in Wellen, Belguim;  and the homes and studios of Daniel Daligand (Paris), Michel Hosszú (Paris), Rod Summers (Maastricht, Holland), and Ruud Janssen (Tilburg, Hollnd).  At each of these venues, Picasso Gaglione took impressions of their sizable rubber stamp collections, which are reproduced in extensive chapters.  An important eyewitness account of the most important exhibition of Rubber Stamp Art ever staged, with surrounding testimony to the fact that the medium is still undergoing substantial usage by contemporary artists. Harley.  It's in the Mail:  Artistamps and the Mail Art Movement.  California Museum of Art, Luther Burbank Center for the Arts, Santa Rosa, California.  1995.  Exhibition Catalog.  Unpaginated (24 Pages).  Available for $6.50 from The California Museum of Art, 50 Mark West Springs Road, Santa Rosa, CA 95403). Harley curated one of the first museum shows of artistamps in 1987, Corresponding Worlds-Aritists' Stamps, at Oberlin College.  In this current show, Harley continues to reveal the wide diversity of the medium in a well organized format.  The catalog contains an essay on Mail Art, by the late Canadian artistamp pioneer Michael Bidner, to whom the exhibition in dedicated.  The curator also contributes an essay, which details his introduction and activity in the field.  An address list of participating artists concludes the catalog.  This is a somewhat limited edition catalog, not for distribution to exhibition participants, owing to the production of the work, which includes tipped-in color xerox plates illustrating some of the artistamps and envelopes on display.  Also included is a specially produced stamp for the exhibition by Harley, cancelled by a first-day-of-issue rubber stamp. Visual Arts Resources, ed.  Faux Post:  Artists' Postage Stamps from the International Mail Art Network.  Visual Arts Resources, Eugene, Oregon.  1995.  4 Pages.  (Free from Visual Arts Resources, 164 West Broadway, Eugene OR 97401.) An illustrated brochure with a brief description of the exhibition, Faux Post:  Artists' Postage Stamps from the International Network, produced by the traveling exhibition service, which will tour the show.  The brochure is intended to stimulate interest in the exhibition, and will be distributed to museums and art centers throughout the country.  Illustrations reproduce the work of Shozo Shimamoto, Donald Evans, H. R. Fricker, Carl Pittore and others. Bibliozine #36 (JULY 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. 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. Post-Johnsonian Mail Art Ray Johnson is dead.  Is Mail Art dead, too?  When George Maciunas died, many thought that it drove the nail into the coffin of Fluxus, although certainly many argued the point.  Some say Fluxus died in 1966.  Others say it goes on.  Fluxus, however, was a more defined structure than Mail Art, falling more directly under the influence of Macunias.  With thousands of participants, Mail Art was certainly indebted to, but never under the control on Johnson.  If anything, Johnson was an anti-maestro;  an iconoclast, who had no need of disciples or leadership.  In a personal letter to me dated March 25, 1992, Johnson used a rubber stamp reading "Only Me University," writing me that "Mail activity exists for only one person - you.  I am honored by one - ME." Several recent books reflect the shift in Mail Art, made long before Johnson's death, from postal networking to electronic connectivity and inter-continental performance activity.  Since Johnson's death the shift seems more delineated.  Johnson's passing has not endangered Mail Art, but it marks the passing of an era when Mail Art was the predominate activity in the Eternal Network.   Internet, zines, rubber stamps, artistamps, touristic activities, could all lay convincing claims to current networking predominance. The following books reflect approaches to networking that differ greatly from Johnson's cryptic letterwriting and visual symbolism.  Gianni  Broi has edited an Italian conference report of mail artists and academicians discussing the medium's entrance into electronic networking.  Stewart Home, who engineered Art Strike 1990-1993, has just issued a book of his collective essays and lectures on such manifestations of Mail Art as Neoism, Plagiarism, Art Strike, and  an examination of the contemporary avant-garde. Home, Stewart. Neoism, Plagiarism & Praxis. AK Press (Edinburg, Scotland, and San Francisco USA). 1995. 208 Pages. (ISBN 1873176 33 3)   Stewart Home became involved with the Neoists in 1984, after hearing of the 8th Neoist Apartment Festival, a polymedia event organized in London by Scottish artist Peter Horobin, with distinguished appearances by Istvan Kantor from Montreal and tENTATIVELY a cONVENIENCE from Baltimore.  Kantor had developed Neoism from  Mail Artist's Al Ackerman and David Zack's NoIsm, which they propagated in Portland, Oregon, during the Spring of 1979.  Previous to this involvement, Home had been acting out themes similar to the Neoists including the use of multiple names, and a band (White Colours) of multiple origins.  These utopian concepts, which Home saw manifested in the post-war avant-garde (Situationism, Fluxus, Auto-Destructive Art, Neoism, and Mail Art) culminated in his study, The Assault on Culture:  Utopian Currents from Lettrisme to Class War (AK Press, 1988). Since the beginning of the present decade, Home has been indefatigable in publishing theoretical texts (Neoist Manifestoes/Art Strike Papers, The Festival of Plagarism), novels (Red London, Pure Mania, Defiant Pose), a collection of short stories (No Pity), as well as editing the magazine Smile.  All this despite a three-year hiatus during Art Strike 1990-1993.  Home has not only documented his ability in novels of unparalleled originality , but has become a leading authority of post-war avant-garde histories, which frames the context of his creativity.  This uncanny ability of welding creativity, theoretical in-sight, and self-conscious historification, marks Home as a major presence in contemporary alternative culture. Mail Art provided Home with an international stage upon which he could develop theories on plagiarism, the cessation of art, multiple names, class and cultural conditioning.  These were circulated and modified in contact with active networkers, as his ideas were transmuted in zines, graphics, rubber stamp designs, personal contacts, and performances. Neoism, Plagiarism &Praxis is a collection of writings gathered from the mid-eighties onward.  Texts in the first section are taken form The Art Strike Handbook and later issues of Smile.  The following section is composed of writings from exhibitions and installations.  Part Three is given over to Neoist texts.  The final section is devoted to texts written since the end of Art Strike 1990-1993.  This is followed by  four appendices detailing interviews, correspondence and an introduction to the Polish edition of The Assault on Culture.  A selected bibliography and index ends the work. Although a powerful talent in his own right, Home has recognized that there is a great deal of strength in shared action.  Years spent in mail art and other international cultural conspiracies impressed upon Home that ideas funnelled through others only gain in momentum, sometimes taking on a life of their own, and that these modified works, stewed in a cauldron of collectivity, create group mythologies far more powerful than singular works. Since receiving Neoism, Plagiarism & Praxis in June 1995, Home has since published yet another work, Cranked Up Really High:  Genre Theory and Punk Rock (Codex [PO Box 148, Hove, BN3 3DQ, United Kingdom], 1995, £5.95.  ISBN 1899598 01 4.), dealing with the punk rock scene, and the debunking of critics (most notably Greil Marcus), who seek to find esoteric meaning in teenage ritual. Broi, Gianni, Editor.  Alternative Creativity and Human Values:  Free Dogs in the Galaxy.  Edizioni Regione Toscana, Firenza, Italy.  1995.  296 Pages.  (For ordering information write Gianni Broi, CP 684, 50123 Firenze, Italy) This conference report from the international gathering in Bagno a Ripoli, Italy, on May 8, 1994, concerning the role of computer networking in the mail art network, is begun with a quote by Ray Johnson, "The New York Correspondence School has no history - only a present."  Editor Broi reiterates this point in writing that this is a book for the networkers "to grow up together in order to renew oneself without losing sight of the target." The target is interactivity.  The renewal is the leap from postal exchange to computer literacy.  Another major concern is that the same freedom that exists in mail art is transferred to the larger interactive community of telecommunications.  Mail artist gathered with university professors to explore these topics to inform each other in the latest trends of both the art and communication fields. The texts in the work are from papers delivered at the conference and those submitted in support of the topic.  Active networkers contributing to the project include Honoria (USA), Vittore Baroni (Italy), Roy Ascott (England), Bruno Chiarini (Italy), David Cole (USA), Daniel Daligand (France), Raimondo Del Prete (Italy), Laura Gianfreda (Italy), Ruud Janssen (Holland), Ruggero Maggi (Italy), Mit Mitropoulos (Greece), Henning Mittendorf (Germany), Robert Morgan (USA), Andrea Ovinnicoff (Italy), Clemente Padin (Uruguay), Pawel Petasz (Poland), Alberto Rizzi (Italy), Franco Santini (Italy), Rod Summers (Holland), Andrej Tisma (Yugoslavia), and Chuck Welch (USA). Texts are presented in both Italian and English, greatly adding to the accessibility of the book.  Most of the essays concentrate on the role of the computer in telecommunications and it's effect on mail art.  These range from observations of Honoria's, "Mailart in Cyperspace," to Rod Summer's, "The Computer Threat to Mailart:  the Whole Truth Revealed!"  There is still a great deal of controversy over the definition of mail art, whether it encompasses these new electronic mediums, or if mail art has been superseded by them. This is a nice companion work to Chuck Welch's book, The Eternal Network:  A Mail Art Anthology, which examines the history of mail art and the leap to computer networks.  Bibliozine #37 (August 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. 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 Way Underground Panels:  A Bibliography of Sources The Underground Press Conference was held in Chicago from August 19-21, 1995, and I was asked to participate on three of the conference's Way Underground Panels.  These were on the History of the Underground Press, to which I spoke on mail art publications in the context of the art press; Archives, which commented upon the problematic nature and the ongoing controversies regarding mail art collections; and Human Rights and the Printed Word, discussing East German, Yugoslavian, and Cuban zine publishing.  Papers on these subjects were prepared and the following sources cited in each of the three essays. History of the Underground Press. Bleus, Guy.  "Commonpress Retrospective:  1977-1984."  Commonpress 56.  The Administration Center/Stedelijke Drukkerij Tienen (Belguim).  1984.  Exhibition catalog.  141 pages. Crane, Mike, and Stofflet, Mary.  Correspondence Art:  Source Book for the Network of Postal Artists.  Art Contemporary, San Francisco, California).  1984.  522 pages. Ford, Simon.  Smile Classified.  National Art Library.  Victoria and Albert Museum (London, England).  1992.  Exhibition catalog.  8 pages. Frank, Peter.  Something Else Press:  An Annotated Bibliography.  McPherson & Co.  (New York, New York).  1983.  90 pages. Friedman, Ken.  "Notes on the History of the Alternative Press."  Contemporary Art/Southeast (Atlanta, Georgia).  Vol. 1, No. 3, August-September 1977.  Page 42-43. Hendricks, Jon.  Fluxus Etc.  Silverman Collection (Detroit, Michigan).  1981.  Exhibition catalog.   410 pages.     Kostelanetz, Richard.  A Critical (Ninth) Assembling (Precisely:  6789).  New York, New York.  1979.  Unpaged. Pindell, Howardena.  "Alternative Space:  Artists' Periodicals."  Print Collector's Newsletter (New York, New York).  Vol. 8, No. 4, September-October 1977.  Page 96-106, 120. Welch, Chuck.  Eternal Network:  A Mail Art Anthology.  University of Calgary Press (Calgary, Canada).  1994.  304 pages. Wertham.  Fredric.  The World of Fanzines:  A Special Form of Communication.  Southern Illinois University Press (Carbondale, Illinois).  1793.  144 pages. Archives. Banana, Anna.  "Mail Art and Money Don't Mix?"  Banana Rag (Vancouver, Canada), Number 20, April 1987.  Page 4. Baroni, Vittore.  "Mail Art and Money (Do Mix)."  Arte Postale! (Viareggio, Italy), Vol. 1, No. 56, January-June 1987.  Held, Jr., John.  Bibliozines #1-25.  Modern Realism Archive (Dallas, Texas),  1995.  50 pages. Honoria.  Post Ray Johnson Manifesto.  Villa Fake Picabia (Austin, Texas).  1995.  1 page. Kuh, Katherine.  "Preservation of the Avant-Garde."  Saturday Review (New York, New York) Vol. 4, No., 3, October 30, 1976. Spiegelman, Lon.  "Archives."  Spiegelman's Mailart Rag (Los Angeles, California).  Vol. 1, No. 4, December 1986.  Page 15-16. Welch, Chuck.  Eternal Network:  A Mail Art Anthology.  University of Calgary Press (Calgary, Canada).  1994.  304 pages. Human Rights and the Printed World. Banco de Ida Z.  Libro Arte Promocional, Volumen 2.  Banco de Idea Z, Havana, Cuba,  1995.  50 pages. Banco de Idea Z.  Libro Arte Promocional, Volumen 1.  Banco de Idea Z, Havana, Cuba,  1994. Held, John.  Cuban Travel Diary.  Modern Realism, Dallas, Texas, 1995.   50 pages. Jovanovic, Aleksandar.  Cage Anti-Embargo Magazine (Odzaci, Yugoslavia), No. 1-5.  1992-1995.  Kamperelic, Dobrica.  Open World (Belgrade, Yugoslavia), No. 1-85.  1985-1995. Winnes, Friedrich; and Wohlrab, Lutz.  Mail Art Szene DDR 1975-1990.  Haude & Spenersche Verlagsbuchhandlung, Berlin, Germany.  1994.  124 Pages. Bibliozine #38 (September 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. 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). MODERN REALISM  MOVES.  After fourteen years in Dallas, your editor will be moving to San Francisco to start work at the Stamp Art Gallery with Picasso Gaglione on November 1, 1995.  Bibliozine will continue, as will Modern Realism Archive and Gallery, after a brief hiatus to situate myself in the City. Before my departure from Dallas, John/Held Jr./Modern Realism: A Dallas Retrospective, 1981-1995, featuring a decade of my work as an artist and selections of past shows from Modern Realism gallery, will open at Documentary Arts in Dallas.  Abbreviated shows from Modern Realism will include, The Letters of Ray Johnson,  Artist Postage Stamps, Cavellini, Fluxus and Something Else Press, Art from the Church of the Sub Genius, Mail Art Catalogs, Banco de Ideas Z:  Cuban Independent Art, and The Yugoslavia Cage Anti-Embargo Group.  My own works will feature documentation of Dallas projects and performance works, as well as visual art created over the past decade and a half.  The exhibition opens on Saturday, October 14 (6-8pm) at Documentary Arts, 5501 Columbia, Dallas, Texas. The last show at Modern Realism in it's Dallas venue, will feature the work of Picasso Gaglione and the publications and boxed sets of Stamp Art Editions, which have been produced through the auspices of his Stamp Art Gallery.  The opening of the exhibition will coincide with a reception following the John Held Jr./Modern Realism Retrospective opening on October 14. STAMP ART EDITIONS:  A CHECKLIST OF SELECTED WORKS For the past ten years, The Stamp Art Gallery (466 8th Street, San Francisco, CA 94103) has established itself as the premier gallery for the presentation of new developments within the rubber stamp art genre, as well as hosting exhibitions giving a historic perspective of the medium.  The following exhibition catalogs are a sampling of the output of Stamp Art Editions, the publishing arm of Stamp Art Gallery.  Those interested in ordering the works should write to Stamp Art Gallery for availability and price information. JOSEPH BEUYS.  1992.  14 Pages. Gaglione writes that, "In 1972 I invited the German artist Joseph Beuys to send mail art to the Daddaland Post Card Show at the Mostly Flowers Gallery in San Francisco.  This was the first mail art exhibition to show the works of Beuys."  Twenty years later, from February 1-28, 1992, the Stamp Art Gallery exhibited Beuy's response to commemorate the event. MIKE CRANE:  STAMPS IN USE.  1995.  36 Pages. Crane, the co-author of Correspondence Art:  Source Book for the Network of International Postal Art Activity,  was an active mail artist before he attempted to pen the comprehensive history of the medium.  This exhibition catalog contains many of the rubber stamps Crane used in his mail art activities.  The show was held at the Stamp Art Gallery August 5-30, 1995.   THE FAKE PICABIA BROTHERS:  L'ART TAMPON.  1995.  74 Pages. The account of a trip by Picasso Gaglione and John Held, Jr. to Europe where they participated in the opening activities of the rubber stamp exhibition at the National Postal Museum in Paris.  Rubber stamp impressions from the collections of Guy Bleus, Daniel Daligand, Rod Summers, and Ruud Janssen are included in extended appendixes.  An actual rubber stamp is affixed to the cover. S. GUSTAV HÄGGLUND:  RUBBER STAMP ART.  1993.  24 Pages. The book is a collection of stamp art works by New York artist s. gustav hägglund first exhibited at La Mamelle Art Center in San Francisco in 1981, and subsequently shown at the Stamp Art Gallery July 11-August 11, 1993. GRAF HAUFER .  1993.  39 Pages. A collection of documentation sent to Gaglione by German Neoist Graf Haufen.  The works are from his stamp art performance/environment exhibition, where he hand stamped the entire lavatory at the Artcore Gallery in Berlin.  The reproductions of the action are preceded by an essay explaining the work. J. H. KOCMAN:  STAMPS AND OTHER RESIDURE 1970-1979.  1995. 76 Pages. This exhibition catalog enumerates the various stamp impressions of Czech artist J. H. Kocman.  His work, Stamp Activity (1972), was the first attempt to gather the international array of rubber stamp art being circulated in the emerging Eternal Network.  Kocman also published, A Monography of My Stamps, one of the earliest efforts to compile the rubber stamp impressions of a singular artist. J. H. KOCHMAN WORKS:  1970-1979.  1995.  10 pages plus a set of eight postcards. Essays by Ted Purvis, Picasso Gaglione, and Geza Pernecsky  introduce this study on one of the fathers of contemporary stamp activity.  Contains an unmounted rubber stamp as well as a set of postcards bearing impressions by Kochman.  HENNING MITTENDORF:  HAND CARVED STAMPS.  1993. 62 Pages. A five-page introduction is followed by extensive reproductions of this German mail artist's eraser carvings, which was the subject of a November 1-December 31, 1993 show. ART FROM THE RIM:  THE NEW YORK CORRESPONDANCE SCHOOL OF SAN FRANCISO ARTISTAMP TRAVEL DIARY.  1995.  28 Pages. An account of John Held, Jr.'s opening of Faux Post:  Artist Postage Stamps from the Mail Art Network, in Salem, Oregon, his performance with Picasso Gaglione to open his exhibition at Stamp Art Gallery, and a dinner with guests R. Seth Friedman, Patracia Tavenner, Geoffrey Cook and others.  Photographs and a perforated stamp sheet are included. PHOTOGRAPHS AS RUBBER STAMPS;  PRESERVING MAILART HISTORY ON RUBBER STAMPS.  n.d. 128 Pages. Gaglione's first "art stamps" came from photo booth pictures, group photos of friends, and from art events.  This is a complete listing of all stamps originating from photographic images in his collection.                                                                                                                Continue to Part IX