This is CHAPTER 2 of the thesis
CHAPTER 2 - FLUXUS AND POSTAL EPHEMERA.
(by
2.1. Introduction.
In USA, whilst Johnson continued to use
the postal system to transport his orchestrations, Fluxus - a constantly
changing, international loose group of geographically separated people, through
Europe and North America - participated in mailart
and began to widen the network of mailart through
publishing and to explore the creative potential of the elements of the postal
system with postcards, stamps and franking. This chapter examines the uses of
these elements by Fluxus and mailartists.
Whilst much has been written on Fluxus,
it has not been discussed in terms of its importance to the development of mailart. Writers on mailart on
the other hand have acknowledged the importance of Fluxus to mailart. Significantly, Chuck Welch chooses to organise his
book, Eternal Network: A Mail Art Anthology with the first chapter, written by
Fluxus man
"reached
out to the public" ... "and began to make real, its potential for
social change and for contributing new forms of communication to the
world."
This is a view that I share, but note
the importance of the word "began". Friedman also sees that it was
Fluxus that encouraged people to find-out about each other through the mail, a
means of broadening knowledge and understanding of other artists' work without
having to travel and meet them.
Although Robert Atkins in his
"guide" mentions mailart under Fluxus:
"Fluxus was not limited to live
events. Mail (or correspondence) art – postcard like collages or other small
scale works that utilized the mail as a distribution system - were pioneered by
Fluxus artists, especially Ray Johnson."
the statement is misleading in that Johnson was never a
"Fluxus artist" and given that, it was not Fluxus artists who
pioneered mailart. Writing about Fluxus is frequently
accompanied by reproductions of works that show Fluxus use of the mail but do
not comment on them in terms of mailart, seeing them
simply as Fluxus works. John Hendrick's massive tome
on Fluxus reproduces many works that used the mail, again without reference to mailart. In his introduction to this text, Robert Pincus-Witten describes Fluxus as an indictment of USA
political and artistic (Abstract Expressionist) imperialism and a:
"campaign
that subverted the inherited abstract value system - large, heroic, ambitious,
and sexist - favouring an art that was intimate, ephemeral, and highly
poetic."
This is a view of Fluxus that is echoed
by Hendricks in his foreword to the book and is not only applicable to Fluxus
but also to my reading of mailart in the
2.2. The Conception of Fluxus.
Fluxus was conceived in 1961/1962 by
George Maciunas (1931 - 1978), a Lithuanian architect and designer and part owner of the A/G gallery,
The first Fluxus manifestation was Maciunas' publication 'Fluxus' (1961) that grew out of the
musical events of the people centred around John Cage.
Many of those who were to become the mainstays of Fluxus had attended Cage's
course in Musical Composition at The New School For
Social Research,
At the start of 1963 Maciunas
published the Fluxus, 'Purge Manifesto' which declared war on:"The
world of bourgeois sickness, "intellectual", professional, and
commercialized culture." Maciunas saw Fluxus as
being free of confines and able to work in any way that it wished, without
concern for tradition or the need for recognition by established art critics.
Whilst the publication of Fluxus works and the opening of a Fluxus shop can be
read as being a critical comment on commerce - given that the goods on offer
were neither functional nor falling within accepted notions of Fine Art - there
is also a danger of falling into the trap of becoming part of the very
establishment that is being criticised. Maciunas'
criticism of 'professional(ism)' is also problematic, given the professional
role that he played as the highly committed organiser of Fluxus.
Rejection of the notion of 'Authorship'
and therefore the 'Artist as Hero' was central to Maciunas'
concept of Fluxus: participators were expected to sign their work - if at all -
'Fluxus.' Fluxus signalled participation, inclusivity
rather than exclusivity, experimentation and creativity as being paramount and
individual identity, career building and ego-feeding as being of no importance
whatsoever. However, the reality was that the participators in Fluxus
frequently did sign their work with their own names. Equally, mailartists usually sign their work as a principle because
the spread of contacts is important to its activity. Although within mailart there is a tradition among some networkers
of working anonymously by adopting pseudonyms, or 'combat names' as discussed
in Chapter one, this is not the same issue as signing a work 'Fluxus' because
these are individually held names and also because cynically it could be
suggested that Maciunas' motive in encouraging this
signing was giving Fluxus itself a higher profile than that of the individual
participating artists. Whilst combat names, may well make the individual more
memorable, they do not serve to promote mailart as a
whole and mailart, unlike Fluxus has no intention of
producing a saleable product.
Multiple Names relate to Combat Names in
as much as that they do not reveal the legal name of the networker
but their origins lie in the Fluxus anti-elitist, anti-artist-as-hero stance.
Whilst Duchamp used pseudonyms such as R.Mutt and Rrose Selavy, these were not used to suppress his career as an artist, arguably the opposite was the case. In 1920 however,
Raoul Hausmann suggested
that the Berlin Dadaists should all call themselves 'Jesus Christ'. This can be
considered to be a typically provocative Dadaist idea rather than a serious
proposition but nevertheless, it is a multiple name proposal. Maciunas had more success with suggesting to the Fluxus
artists that they should simply sign their work 'Fluxus', in a move against the
perception of art as elitist behaviour and careerism. The notion of an
anonymous work of art has the effect of preventing the placing of value on a
work of art because of its 'brand name.'
The issue of putting a name to a work of
art was subsequently explored by mailartists and the
first mailart Multiple Name was created in the mid
1970s by two British mailartists, Stefan Kukowski and Adam Czarnowski who
tried to persuade other networkers to adopt the name
'Klaos Oldanburgh' (sic).
The ideology of this concept is called into question by their use of Roman
Numerals after the name to differentiate the different Klaos
Oldanburghs, thereby in effect drawing attention to
their being different people, with identities. One year before Maciunas' death, in 1977, David Zack a
2.3. Publications.
The importance to Fluxus of publishing
was to be significant for mailart in that it was the
start of mailartists extending their work beyond the
impetus of Johnson's 'letters', to making editions and journal based work.
In 1965, the first mailart
book (and what seems to be the first published accounts
of mailart after Wilcock's
article) was produced by Dick Higgins - a prominent member of Fluxus - with the
publication of Johnson's book, The Paper Snake. This work consists entirely of mailart works by Johnson from 1960 to 1964 and almost
entirely sent to Higgins. These are mostly text with, in many cases, some
resemblance to the text works of Yoko Ono from the 1950s and 1960s, often with
barbed references to specific individuals, many of them famous from all walks
of life. Although Johnson's address does appear, there is neither invitation,
nor indication of the possibility of participation. The work makes no attempt
to reach out to the uninitiated and as such perhaps would be unapproachable to
most people, but would undoubtedly have made Fluxus artists more aware of the
way in which Johnson used the mail. There is a short introductory essay by the
American art critic, William Wilson, sometimes described as Johnson's
unofficial biographer, eulogising about the work but
adding no information on Johnson or mailart (see the
introduction to this thesis).
Of particular importance to the spread
of mailart, Higgins also produced a newsletter in
1966, initially to present his essay on 'intermedia',
it went on to disseminate mailart ideas and to be the
inspiration for future network newsletters. Also in 1966,
Although mailing lists per se do not
appear anymore in mailart, documentation of mailart projects (discussed in Chapter 3) by tacit
agreement, consists of the names and addresses of all the participants, so
acting as a mailing list. Since Fluxus, there have been many mailart magazines which include name and address lists,
notably Lo Straniero, the production of Neopolitan Ignazio Corsaro who refers to his list as 'The Strangers
Directory', printing about 1,000 names and addresses, covering approximately
five letters of the alphabet each issue. This magazine is published in the
uniquely (for mailart) large edition of 10,000
copies, is professionally printed in Black and White and produced twice a year
since 1985, initially in Broad Sheet format. Corsaro's
magazine is a forum for discussion through letters sent to him and his reply to
them, through the magazine. Other means of increasing contacts occur in some
quite different journals, in
Fluxus production of magazines,
developing from Maciunas' initial concept of a Fluxus
magazine, was to become one of the mainstays of mailart,
with magazines produced for a variety of reasons, from contacts and advertisers
of mailart projects to publishers of visual and text
based creative work. The word 'magazine' is often shortened to 'Zine', Stephen Perkins defines them as "self-produced,
self-distributed, non-profit publications focusing on topics that are often
ignored by the mainstream media." referring to self published, cheaply
produced products with no commercial ambitions or outlets, he goes on to say
that "the history of Zines can be traced back to
the 1930s when science fiction fans started putting out their own slick science
fiction magazines ... When those fans circulated their mimeographed writings
amongst themselves, the zine was born".
Life magazine, with the punning
potential of its title, inspired a number of mailart
magazines that in some cases had large print runs, received grants and reached
out beyond the confines of the network. These magazines evolved organically in
the change of title and passing of production from mailartist
to mailartist. The first of these, and perhaps the
first magazine to be generated through the mailart network, was produced by General Idea who began File
magazine in 1971 with a grant from the Canada Council. File was printed in
editions of 3-5,000 and was sold at news-stands in major USA cities, but by
1974 it had ceased to address mailart, choosing to
concentrate on the general activities of General Idea, in preference to what
they perceived as being the 'Quikkopy crap' that they
were seeing in mailart as a response to the new
availability of photocopying and the broadening out from the hand-crafted works
that epitomised the early years of mailart. File was
conceived as an anagram of Life and the first issue, April 15th, was a
convincing imitation of a 1948 issue of Life magazine. In 1974
A further evolution of the name of the
journal was adopted by
The concept of common ownership of
journals was not Home's original idea, this can be
traced back to Fluxus.
The principle of magazines produced by
individual participants sending their contributions as ready to print artwork,
took the name 'assembling' from the title of a publication by New York writer
and critic, Richard Kostelantz who, between 1970 and
1981, produced 11 editions of his magazine Assembling. This journal was unique
amongst mailart magazines in being published in
editions of 1000 copies, thanks to financial support from various sources. Kostelantz requested 8 1/2" X 11" artwork and
sent each contributor three copies of the complete work.
Earlier, in 1968
2.4. Postal Elements.
For Fluxus, unlike mailart,
production of objects was for an intended sale. Central to the production of
Fluxus material was the mail order warehouse and shop which Maciunas
had opened, with the Flux-Hall for Performances, at
The recognition by Fluxus of the postal
system as a means of keeping in touch with each other, and as a system for
selling their work, led to Fluxus people seeing it as a medium and vehicle for
their work. Paik operated through the mail, although not using his own stamps.
'The Monthly Review of the University for Avant-Garde
Hinduism.', taking Johnson's fascination for bizarre names, was a series of
works that Paik mailed out in 1963.
"To the subscriber of the Monthly
Review of the University for Avant-Garde Hinduism
sometimes comes something by mail. once, or twice, or
thrice, you will find a tiny 1 cent coin in a white envelope. or ..."
It is not clear how many Paik sent
although there may be some clues given in his deliberately unlikely suggestions
as to what he would send, including "arm-pit hair of a chicagoan
negro prostitute". There is little interest shown in the appearance of the
envelope although the use of his own rubber stamp
should be noted.
Although mailart
was not of primary importance to Fluxus, it is interesting to note how central a
part it made of the postal system in a parody of marketing systems. Fluxus,
taking the postal system seriously as a medium, (that is to say seriously from
an often humorous point of view as was their wont) went so far as to produce a:
" Fluxus Postal Kit, prepared in 1966 complete with a Fluxpost cancellation mark, permitting an entire,
Fluxus-controlled postal exchange to take place."... "
By the end of the 1960s, a number of Fluxus people had begun to view
mail art as a medium offering unique potentials and challenges. They saw beyond
the basic issue of art through the mail, and began to explore the reaches and
media of correspondence and mail themselves."
'Flux-post kit 7', 1968 shows the range of postal ephemera that Fluxus
was involved in but it also shows - with its box container - how these objects
were very much seen - at least by Maciunas - as
commodities rather than explorations of the mail. For Maciunas
there was little difference between Flux Tattoos, as an artwork / commodity and
Flux Postal ephemera, in that both were produced to be sold and collected.
Although these objects were to add to
the correspondence aspect of mailart that Johnson had
begun, for mailartists, it is the interaction through
the mail that is important. It is not insignificant in the consideration of mailart that every communication received, and sent, will
have the marks of the postal system (postage stamps and franking) of, at least,
its country of origin. These in themselves can lead to, both a better
understanding between two countries and the simple though not to be devalued
pleasure of an appreciation of the aesthetic qualities and charm of stamps and frankings of other countries. It is therefore apparent that
irrespective of the networker's contribution and
intervention, any mailart communication, in order to
comply with the postal system, has intrinsic interest. For Fluxus and mailartists, there was also the possibility of adding their
own faux-stamps and faux-frankings.Faux-stamps were to
become known as Artistamps.
Historically, the first recorded non
official stamps are understood to have been made long before Fluxus, by Karl Schwesig. As with the history of most
things however, earlier examples come to light and this is no less the case
with artistamps. Artistamp News, in 1991 (1/2)
published a brief article on rubberstamp produced stamps by Michael V. Hitrovo from 1914. A subsequent article in Artistamp News 2/1 1992 describes an even earlier example
from the last century.43 More recently, an American, Donald Evans, looked to
stamps as a format for artwork, though not a mailartist,
he made one-off stamps. Evans began making stamps in 1957 when he was twelve
years old and continued making them until his untimely death in a fire in 1977.
Evans' water-colour stamps from imaginary kingdoms were exhibited in galleries
and sold by him, thereby distancing him from the practice of networkers. None of these historical precedents relate to mailart in that they were not part of an exchange within a
network and serve only to demonstrate that unofficial stamps had been produced
before networkers began to make them.
The earliest stamps made as part of mailart activity were those of the prolific Fluxus member
Robert Watts who in 1962 printed 'Safe Post / K.U.K. Feldpost
/ Jokpost.' These stamps were subversive in that
whilst they imitated commercial stamps in their borders, the central images
were taken from photographs of naked women. The 1963 'Yamflug/5 Post 5'44 also
suggest commercial stamps with their traditional borders but are confusing to
the viewer because of their evident non-commercial heads.
By 1974 artiststamps
had become well established as a mailart medium, with
thirty-five networkers from nine countries
participating in the first "Artists' Stamp and Stamp Images" exhibition,
which was held in
As James Felter,
a Canadian mailartist, recognised in an introductory essay to a Seattle Artistamp exhibition, that postage stamps give a universal
message of authority, functioning in a manner that is instantly understood
throughout the world.
"One symbol they (mailartists) have found is the postage stamp, or rather the
postage stamp format. This is one of the few existing symbols of officialdom,
of authority, and of low economic value that is recognised in every nook and
cranny of the globe. It is a universal symbol of a means of communication and a
carrier of an unlimited variety of 'authorized' messages in the form of words,
numbers, and images (or any combination thereof). It is a symbol that is used
everyday and collected throughout the world. The artists of the global village
have adopted this symbol and named it 'Artistamp.'"The
use of this old symbol as a carrier of new symbols, new visual messages and new
aesthetic discoveries lends an aura of authenticity to the creative efforts of
the artists of the global village and legitamizes
their imagination with the international society."
Stamps are also a very low cost item
carrying an endless variety of images and texts that can be seen as miniature,
multiple artworks. The imitation of postage stamps by mailartists
is a logical decision, giving their enormous potential for the use of text and
image in miniature and relevance to the activity of postal art. In spite of
this, only a small number of mailartists produce
artistamps, presumably because they perceive them to be too difficult and /or
expensive to produce. Some of those who do produce artistamps on the other
hand, go to great lengths to create postal systems which at times even include
fake countries, languages and even Royalty. Robert Rudine,
a
There is an established precedent for
non-postage stamp stamps, namely in what are called Cinderellas,
that is to say the commercially produced stamps with no postal value, used as
part of an advertising or promotional campaign.
"...the stamp format was widely
used as an advertising medium throughout Europe and America from 1900 through
1940, as one of the only affordable means advertisers could use to circulate
full colour reproductions of their products or facilities. After 1940 the
medium died out quickly when technologies of colour and black and white
printing were integrated, and colour advertising in the context of magazines,
became available."
The design considerations for Cinderellas are the same as for most aspects of postage
stamps and are also appropriate to artistamps. Whilst affordable to business,
commercial printing is of course not affordable by the average networker and so whilst Cinderellas
remain as a precedent, they do not indicate a standard method of production.
Similarly, the production designing of postage stamps by artists is not related
to mailart quite simply because postage stamps are
the mark of authority. Whilst artistamps do not necessarily seek to subvert or
mock the authority, they exist alongside it as a personal statement or mark.
In contrast to the hand produced works
of Schwesig and Evans, the usual medium for
artistamps has become the photocopier, hence the considerable increase in the
production of artistamps since the widespread availability of photomechanical
reproduction, especially the colour-copier. Other stamps are hand printed, silk screen for example and many are produced by
rubber-stamping or designed and produced on computers. These images if hand
produced may well be unique stamps and the printed stamps may be produced in
editions of any number or unlimited.
Fluxus work whilst at times poking fun
at and parodying the establishment, tended to achieve their aim through humour, some artistamp makers on
the other hand have taken risks by subverting the official postage due. The
simplest form is simply to send mail with no stamp, but that runs the risk of
the recipient having to pay, which at least in the case of mailartists
from countries where incomes are relatively low, is not an acceptable risk.
Simply using an artistamp is another possibility.
Famously (although not part of mailart networking)
Yves Klein made his IKB stamps in 1958 to send out on the envelopes of his
invitations to the exhibition Le Vide. Reputedly, these were the only stamps on
the envelopes and successfully reached their destinations without surcharges
being added. More provocatively, in 1970, USA. mailartist, William Farley's USXX
stamp of a rear view of a head with a pony tail in an early
The simplest form of artistamps is to
work with the official stamps, this can be for
aesthetic, subversive reasons or purely for fun. The more stamps that are
placed on the envelope, the more possibilities there are of aesthetics, with
choice of colour, placing and relative positioning. An example of this is to
use the lowest denomination stamp and to totally cover the envelope with the
stamps, thereby making a minimal work of art. This kind of 'game' is not unique
to mailartists at all, and is often played by friends
who have never heard of mailart. Subversively,
inverting the Queen's head demonstrates disrespect, if not a treasonable
offence and placing the stamp in an attempt to avoid franking so that it can be
reused by the recipient are all strategies that mailartists
use. Actually working on the stamps and altering them is another possibility
that has been explored by an English mailartist who
limits his introductions to his combat name of Red Herring who in 1988 over
painted a stamp of
Rubber Stamps, or Rubberstamps as they
have come to be known by mailartists, were invented
by businessmen in the mid to late nineteenth century and by the late 50s and
early 60s were widely used by both Fluxus and Nouveau Realists as a medium for
producing artworks.
The combination of the mundanity and power of rubberstamps gives
"a symbol
of power - their role is to validate or invalidate something. There are many
symbols of power and we are frequently confronted by them. But none is as
common and petty as the rubber-stamp. Their lack of
sophistication and glamour seems to contradict the enormous power conveyed by
them."
This is particularly evident in
oppressed countries where, as discussed later, received mail has usually born
the mark of the censor. Rubberstamps fall into several categories,
the official stamp is associated with authority and validation of, for example,
licenses, certificates and passports: these actions and documents acknowledge
and approve us. The very medium or carrier of mailart,
the Royal Mail, validates our messages with rubber-stamps and officialdom in
general uses them to number our documents. Fluxus used faux frankings,
for example
Domestically there is a formal but far
less official use as a convenient method of producing letter heads and 'sender'
address stamps for the back of envelopes. These were used by Fluxus and Johnson
and are used by most mailartists today, partly for
convenience. Name stamps have also been used for fake institutions, such as, as
already stated, Paik's '
The use of rubberstamps as cheap movable
type has long had an attraction for children with 'John Bull' printing sets,
allowing them to play at typesetting. It is this element of play that many mailartists find attractive, with the hand-crafted
appearance of something that is close to a commercial graphic process but with
the visual attraction of its imperfections, so much loved by Warhol in his
early 1960s photo silk-screen prints. Although most type for Fluxus work was
generated by letterpress, (by Maciunas usually) Vautier for example enjoyed the use of rubber stamp type.
In 1974 Herve
Fischer, a French artist, published rubber-stamp images and in 1978 the first
Rubberstamp Album was produced in America by Joni Miller and Lowry Thompson who
subsequently edited the massive bimonthly journal Rubberstampmadness
begun in 1979 and still running commercially (currently 92 pages). The 1970s
also saw a proliferation of companies, particularly in the USA.,
offering a wide range of ready made decorative rubberstamps and a bespoke
service giving an enormous range of creative possibilities. This,
coupled with mailartists beginning to carve their own
rubberstamps led to a considerable increase in the use of rubberstamps in mailart.
The use of the rubberstamp by networkers varies considerably in intention and effect from
networker to networker. For
some, at times as humorous pastiche and at others to make critical comment:
this impression can only be created with the blandness of commercially produced
rubberstamps. Hand cut rubberstamps however, created usually with a scalpel
from an eraser, inevitably present an entirely different image, lacking the authority
of precision but with the visual attraction that goes with hand-crafted work.
Equally, with Rubberstampmadness giving examples of
how to create complete pictures in multi colours purely from rubberstamps, the
creative possibilities are considerable. Whilst the latter suggests more of a
craft-hobbyist approach, the experimental nature of mailartists
has resulted in very imaginative rubberstamps and uses for them, whether
commercially or hand produced. In an age in which for many networkers,
making contact with people is more important than laboured hand produced
creativity, the rubberstamp offers a very quick, accessible and immediate
medium with considerable potential: expediency and pragmatism dominating
ideology.
2.5. Postcards.
The beginnings of handmade and
commercially produced picture postcards, in
Whilst the sending of Picture Postcards
by mailartists to each other as mailart
is probably usually because of a wish to share the image, because of its
beauty, humour, personal relevance or any one of a number of reasons, it could
be seen to indicate either a lack of concern for any attempt at considering the
communication as art or on the contrary, possibly the consideration of the
chosen postcard as a ready-made in the Duchampian
sense. Fluxus members often sent messages to each other on postcards but it was
Ben Vautier who used the postcard as a creative
vehicle in itself. In 1965, he made what was probably the first pure conceptual
mailart work - 'The Postman's Choice' in which he
produced a double-sided postcard, inviting the postman to decide which side
s/he wished to select to determine the recipient. Whilst being an admirable
work in terms of conceptual process, Ben's postcard lacks an interest in
interchange and therefore remains outside mailart
networking. Further, Maciunas' request, "can I
reprint 1000 of them! and sell for 10 c each?"
indicates very clearly that for Maciunas at least
they were perceived as a commodity to be sold and used by others rather than as
a conceptual usage of the post by the artist.
Artist's Postcards became so popular as a medium for mailart
exchange that by 1971, two Canadian networkers,
Michael Morris and Vincent Trasov in
2.6. Conclusion.
Maciunas' need to control and organise Fluxus extended to
thorough documentation of Fluxus activities and archiving Fluxus material.
Whilst the habit of documenting and archiving work is one that has been adopted
by many mailartists, unilateral control is both alien
to mailart and not possible, given the vast numbers
and disparity of its adherents. Although Johnson was a figurehead of mailart, at least in the late fifties and early sixties, he
was nevertheless, keen to encourage exchange that went beyond his control. Maciunas' willingness to devote himself to the cause of
Fluxus and his generosity in giving work away are however, very much a
fundamental part of mailart attitudes.
Fluxus was highly influential on mailart with its, philosophies, attitudes and
internationalism. Of particular importance was its usage of postal elements;
stamps and postcards and especially with the publishing of address lists which
greatly enlarged the number of participants. This was partly responsible for mailart taking on a much broader geographical and cultural
spread than it had been possible to achieve simply with the efforts of one man
- Johnson. Mailart became a union of two elements,
the orchestration and interchange through the mail as practised by Johnson and
the playing with the elements of the postal system which - whilst not generally
used as mailart - were demonstrated by Fluxus.
Where Fluxus failed was in its attempt
to rid itself of authorship by the simple tactic of requiring the participants
to sign themselves 'Fluxus', had this happened, it would have changed the way
in which the work has been commodified, particularly
given the illustrious careers that many of the Fluxus artists went on to have -
without names, the historian looses interest. The anonymity of mailart is something that was to become central to its
operation and it is with the theories of authorship and art that Fluxus man
Joseph Beuys - building on Fluxus ideas - was to
propound, that mailart was to develop its rationale,
as I debate in the final chapter.
It was natural with the
anti-establishment idealism and optimism of the late sixties and early
seventies that mailart should grow beyond the life
and parameters of Fluxus and Johnson. The burgeoning of mailart
reflected the tremendous interest that grew at the time in the seventies of
exploring and setting-up new and alternative systems, which in mailart was to be centred on MAPs
(Mail Art Projects), their exhibiting and documentation.
Fluxus: The seven original members, George Maciunas; Dick Higgins; Emmett Williams; Alison Knowles;
Nam June Paik; Ben Patterson and Wolf Vostell were soon
joined by George Brecht; Philip Corner; Toshi Ichijanagi; Ben Vautier; Jackson Mac Low; Yoko Ono; La Monte Young; Charlote Moorman; Daniel Spoerri;
Josef Beuys and Robert Filliou,
the last three being peripheral members.
The complete thesis by
His current mailing-address: