September 2012

Christine A. Tarantino - Hjuler BROTKATZE collaborations on exhibit at FzKKe Gallery, Germany, Sept. 1 - 30, 2012.

With the Blood of a Daylily - Poems & Drawings by the Homeless Poet by Christine A. Tarantino, published by Words of Light:

THESE HANDS PRAY FOR GERONIMO, a visual poem of American Indians, by Christine A. Tarantino, published by Words of Light:

Christine A. Tarantino's ECDYSIS, snake skin artist book exhibited with 99 other book artists in Italy, curated by Maddalena Castegnaro.

Christine A. Tarantino, Sign and Language Group Exhibit, Open Stal, The Netherlands.

Christine A. Tarantino series of 40,"Being Human"
published by Redfoxpress, Assembling Box #20,

RED LIPS - What is Your Version for Me? by Christine Tarantino is published by Words of Light now available in print or eBook formats. New version includes ALL 42 artists from 13 countries plus additional text and images by Christine Tarantino.

August internet art exhibit @ CHRISTINE TARANTINO
features artist STEVE RANDOM.

WORDS OF LIGHT BOOKS, Art Publications By
Contemporary Artists, new blog offering various format books
published by Christine A. Tarantino.

Christine A. Tarantino/Words of Light publishes THE
by Walter Festuccia.

Christine Tarantino, "Instant Person 1 & 2", self-portraits with Polaroid Camera for POLAROID MADNESS, project of Franticham, Ireland. On-line exhibit and exhibition Kassel, Germany during the DOCUMENTA 2012. "INSTANT PEOPLE"250 polaroid self-portraits by 175 artists from 22 countries.11.– 23. Juli 2012 Zur Eröffnung der Ausstellung am Mittwoch, dem 11. Juli 2012 ab 19 Uhr möchten wir Sie und Ihre Freunde herzlich in denKasseler KunstvereinWerner-Hilpert-Straße 2334117 Kassel, einladen.

Christine A. TARANTINO, "Ecdysis" artist book exhibited at Villa Excelsa, Sannicola, Italia. Curator, Maddalena Castegnaro
Opening night:

July internet art exhibit @ Christine Tarantino Collection features Anna Banana, Darlene Altschul, & John Mountain.

"THESE HANDS" call for entries, newest project from Christine TARANTINO.

June internet art exhibit @ Christine Tarantino Collection features Antoni Miró.

"Fear No NewNew Art" artist book published by Redfoxpress, Assembling Box #19, Ireland.

"E-mail Between the Artist & Her Lover" artist book exhibited Villa Giulia, Italia. Curator Marisa Cortese.

"WHO AM I?" artist book exhibited Mostra Internazionale, Italia. Curator Virginia Milici.

"RED LIPS of Christine Tarantino", art booklet by Bruno Chiarlone published in Italy.

May internet art exhibit @ CHRISTINE TARANTINO COLLECTION features artist RYOSUKE COHEN.

Christine TARANTINO, "RED LIPS FOR DALAI LAMA" exhibition @ INviso, Padiglione TIBET, AssociazioneSal Viana frazione Saliana Pianello del Lario (CO)curated by Ruggero Maggi.

April internet art exhibit @ CHRISTINE TARANTINO COLLECTION features artists Daniel C. Boyer and Richard Canard.

Christine Tarantino, "NEWNEW ART Mono-Prints"
published in"Franticham's Fluxus Assembling Box Nr 18",
Redfoxpress, IRELAND.

DODODADIANI featured this month
in internet art exhibit at Christine Tarantino Collection. Dododadiani
internet art exhibit

RED LIPS Project: What is your
version for me? Send or RED LIPS, Box
121, Wendell, MA 01379 USA
"Sometimes I need red apple. Sometimes I need
redlips."-- Nam June Paik
Your RED LIPS art modification will yield
online documentation, maileddocumentation, and potential publication. Please
include a mailing address withyour submission.

Christine Tarantino, "Better Together: Harmony; Radiance; Consciousness; Evolution", International Mother Language Day Art Exhibit, Kathmandu, NEPAL, by invitation of Rafique Sulayman, Curator.

Christine Tarantino, "Flux-USA Gallery of Stars with Lucy Chew Intervention" exhibited in Group Show: Fluxfest Chicago 2012 (Chicago, USA) FROM THE ARCHIVE Mailart and Fluxus from the archives of Fluxus/St. Louis. Opening reception Chicago Art Institute, Joan Flasch Library.

February online art exhibits from 'The Christine Tarantino Collection' features Guido Vermeulen and Gerson Wenglinski this month, both artists from Belgium.

Christine Tarantino, "RED-BERRY Series" published in "Franticham's Fluxus Assembling Box Nr 17", Redfoxpress, IRELAND.

FAX Exhibit, The DeVos Art Museum, Michigan, USA, curated by Ribas; organized by The Drawing Center and ICI, NYC. TARANTINO "I of the EYE-FAX", asemic writing series:

Wooden Postcard Exhibit, Stehekin Post Office, Stehekin, Washington, USA. Christine Tarantino work:

Christine Tarantino, "PhotoBooth" work published in new book, "Photobooth Performances" by Ginny Lloyd.

Christine Tarantino, Mail Art and Video Performance at Galleriea Terre Rare, Bologna, Italy, January 28 - February 8, 2012. Project of Maurizio Follin, Italia.

Christine Tarantino, RED LIPS for Dalai Lama, collage exhibited at Venice Biennial Tibet Pavilion – Palazzo delle Esposizioni Sala Nervi - Torino, project of Ruggero Maggi, Milan, Italy.

Christine Tarantino exhibited at Foundation IK New Year Celebration Exhibit "I WISH", The Netherlands, by invitation of Ko de Jonge.

The Christine Tarantino Collection, newest Christine Tarantino art blog started on January 1, 2012. Showcasing selected works from my 20 year collection of works on paper from artists around the globe.

Christine Tarantino-Hjuler BROTKATZE Collaboration exhibited at GALERIE "Offenes Atelier D.U. Design", Austria, Barbara Rapp, Curator.

Wednesday, April 1, 2009

Vittore Baroni, ITALIA

Vittore's review of a new book mixing art and mail: "Mail Me Art" by Darren Di Lieto

Review by Vittore Baroni:

I have been involved in the international network of mail art, as a practising author and chronicler, for over three decades, so I have the habit of checking periodically the Internet to see if any new book on the subject has appeared. I had Di Lieto’s Mail Me Art in pre-order long before the publication date, and I had visited the author’s website, the Little Chimp Society, so I knew beforehand more or less what to expect. The book is not disappointing at all in its visual contents, since it permits to see what a specific group of authors - illustrators and designers, mostly young and at the start of their career - is able to devise when confronted with the request to regard the surface of an envelope or package as an empty page, and then drop their completed artwork into a mailbox. A few items designed by children or by more traditionally oriented illustrators are mixed here with a colourful variety of images drawing inspiration from the language of comics, from the bold world of Pop Surrealism, the doodles and tags of street art, the cute characters of toy art. With only an handful of established “big names” in sight, these are by no means “the world’s best illustrators and designers”, as the cover promises, yet the selection is varied and exuberant. It is particularly interesting and amusing to see how each artist has solved the challenge to incorporate the postage stamps, the address and other postal insignia into their piece.

What in the book is really conspicuous by its absence, though, is any real knowledge of over forty years of mail art activities. Even if art by correspondence remains an underestimated and underground art phenomenon, it has been nevertheless documented in thousands of catalogues, art magazines, books, articles (see John Held Jr.’s Mail Art: An Annotated Bibliography, The Scarecrow Press, 1991), and also in many web sites. You simply cannot sweep the complex history of correspondence art under the carpet. If Di Lieto had made the effort of a little research into the tradition (and the present) of mail art, he would not have come up with such an inaccurate piece of information as when he states that “unlike regular mail, there is often nothing inside (a mail art envelope)”: quite the opposite is true! Since Di Lieto name-drops in his introduction “the late pop artist Ray Johnson, who is often considered the father of the (mail art) movement”, he cannot plead complete ignorance. With a little insight into the motivations that lie behind the growth of a planetary “eternal network” of creative correspondents, still involving today hundreds of postal networkers, the author would have found out, for instance, that mail art is traditionally considered “a gift” and not something in need of a price tag (as he requests in his interviews to the participating authors).

The global mail art community is not restricted only to illustrators and graphic designers, but also includes painters, sculptors, performers, poets, novelists, musicians, filmmakers, philosophers, mad scientists, amateurs and people from all walks of life. The aim of mail art is not (only) to produce spectacular images on envelopes. In actual fact, the medium usually tackles a broad range of counter-cultural, social, ecological and utopian issues: as an introduction to mail art theory and practices, see Networked Art by Craig J. Saper (University of Minnesota Press, 2001) and the collection of essays At a Distance: Precursors to Art and Activism on the Internet (The MIT Press, 2005). Mail art works are rarely “art for art’s sake”, they tend to be part of an ongoing collective dialogue, a process of open, free, anti-hierarchical and interactive communication that long predates the so called “social networks” of the Web 2.0.

Only an handful of works reproduced in Mail Me Art deal with the concepts of communication and postal transmission, even these in a rather shy and mild way. We do not see attempts at challenging the postal medium (for example, by using fake “artist’s stamps”), or at projecting art statements that go much beyond the sheer demonstration of wit and pictorial prowess. Above all, these nice pieces of postal art do not attempt to become part of a networking process by requesting in some way a feedback from the receiver, they are “finished” and ready to be framed (though Di Lieto also proposes to buy them and forward them to a new addressee).

In the broader context of the history of correspondence art, Mail Me Art (with its online companion website) is therefore an interesting project, but only shows one side of the multifaceted mail art phenomenon. A few lines of clarification in the introduction would have been sufficient to place the book in a more correct perspective (since Di Lieto’s website promises a second book, he will have a chance to set the records straight!). All this said, and partially in defence of the author, most books on mail art are no more in print or are rather difficult to find, though Internet offers huge reference sites like the Artpool Archive or Ruud Janssen’s TAM. I still find it amazing that more books are available in the English language about niche phenomenons like ATCs (Artist’s Trading Cards), that developed in recent years from the mail art milieu, rather than about the history of mail art itself. It is a gap in the book market that begs to be filled, the sooner the better (but of course, this is another story).


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