I had to figure out a context for the work. I needed to learn more. All of the cards had 1979 postmarks, which gave me some basis for a simple google search. Nothing really came back. I also knew that the show was called SECCA at SECCA. The box came with a wonderful hand-carved stamp reading as much. The only information I found online was from the abovementioned Lomholt Mail Art Archive. The post was the “all call” for the show.
Quickly I went through my mail art book to see if I had corresponded to someone by this name but nothing. I went to IUOMA and found an entry and address for someone by that name. The last activity on the page was from September 2013. My direct message didn’t turn up a response so I decided to go in another direction.
I got in touch with a friend Eddie Garcia, that works for NPR and I thought would have connections to SECCA. He sent an email on my behalf, but as of now, that hasn’t returned anything either. The website was useless, simple searches were useless, and my most promising leads didn’t give me much either. I called on the big guns.
I got in touch with Richard Canard who I thought would know something about the show. I honestly thought he was the guy behind it, but he told me George Brett was probably the point person, even though his return address wasn’t anywhere near Winston-Salem. Much to my surprise he said he didn’t even know about the show even though he’d worked at SECCA in the 1980’s and 90’s. He did see the image of the box sitting in my car and provide me with a nice little bit of information, “That is my handwriting on the box.” So although Richard Canard was directly involved his infamous handwriting was. I love this little tidbit.
I would be lying if I didn’t use this searching process as a way to find out more about mail-art. In a way I see this as a homework assignment, an excuse to ask people that know a lot more about something than I do. It doesn’t help that the history of mail-art is intentionally clouded by half-truths and leg-pulling bullshit, which is partly the reason I enjoy it so much. Since they’re really aren’t gatekeepers to this whole endeavor there isn’t a clear path to know what’s really going on. Thankfully I like a blind adventure.
The Crackerjack Kid remembers that he and George Brett collaborated on something in the mid-1990’s and that George even did a hand stamped portrait of Crackerjack in the early 80’s. As for any other information, he didn’t have any. People enter the mail-art network somehow, and then leave in a similar way.
I decided to write John Held Jr. about the project and he did not disappoint, directing me to a book of his own. John wrote, “I did a book, "Mail Art shows, 1970-1985", which has a listing for "SECCA at SECCA" curated by Richard C. I notice that your materials were given to you by someone else, who I am unfamiliar with. Not sure I can provide you with context for the organization of this particular show, but according to my book there were 75 shows held in 18 countries in 1979. Includes shows curated by Jurgen Olbrich (Germany), Western Front (Canada), Ulises Carrion (Holland), Monty Cantsin (Canada), Julian Blaine (France), Graciela Marx (Argentina), Charlton Burch (USA), Henryk Gakewsly (Poland), Michael Scott (England), and Vittore Baroni (Italy). Maybe this will provide larger context for the SECCA show.”
When I mentioned George Brett, John responded with, “Yes, George Brett was an interesting person. He was very tuned into the network during that time period. Good luck with your research!” The search continues.
Quickly I went through my mail art book to see if I had corresponded to someone by this name but nothing. I went to IUOMA and found an entry and address for someone by that name. The last activity on the page was from September 2013. My direct message didn’t turn up a response so I decided to go in another direction.
I got in touch with a friend Eddie Garcia, that works for NPR and I thought would have connections to SECCA. He sent an email on my behalf, but as of now, that hasn’t returned anything either. The website was useless, simple searches were useless, and my most promising leads didn’t give me much either. I called on the big guns.
I got in touch with Richard Canard who I thought would know something about the show. I honestly thought he was the guy behind it, but he told me George Brett was probably the point person, even though his return address wasn’t anywhere near Winston-Salem. Much to my surprise he said he didn’t even know about the show even though he’d worked at SECCA in the 1980’s and 90’s. He did see the image of the box sitting in my car and provide me with a nice little bit of information, “That is my handwriting on the box.” So although Richard Canard was directly involved his infamous handwriting was. I love this little tidbit.
I would be lying if I didn’t use this searching process as a way to find out more about mail-art. In a way I see this as a homework assignment, an excuse to ask people that know a lot more about something than I do. It doesn’t help that the history of mail-art is intentionally clouded by half-truths and leg-pulling bullshit, which is partly the reason I enjoy it so much. Since they’re really aren’t gatekeepers to this whole endeavor there isn’t a clear path to know what’s really going on. Thankfully I like a blind adventure.
The Crackerjack Kid remembers that he and George Brett collaborated on something in the mid-1990’s and that George even did a hand stamped portrait of Crackerjack in the early 80’s. As for any other information, he didn’t have any. People enter the mail-art network somehow, and then leave in a similar way.
I decided to write John Held Jr. about the project and he did not disappoint, directing me to a book of his own. John wrote, “I did a book, "Mail Art shows, 1970-1985", which has a listing for "SECCA at SECCA" curated by Richard C. I notice that your materials were given to you by someone else, who I am unfamiliar with. Not sure I can provide you with context for the organization of this particular show, but according to my book there were 75 shows held in 18 countries in 1979. Includes shows curated by Jurgen Olbrich (Germany), Western Front (Canada), Ulises Carrion (Holland), Monty Cantsin (Canada), Julian Blaine (France), Graciela Marx (Argentina), Charlton Burch (USA), Henryk Gakewsly (Poland), Michael Scott (England), and Vittore Baroni (Italy). Maybe this will provide larger context for the SECCA show.”
When I mentioned George Brett, John responded with, “Yes, George Brett was an interesting person. He was very tuned into the network during that time period. Good luck with your research!” The search continues.
I got in touch with Tom Adair, who didn't remember much other than he sent work to SECCA. He was going to look through his files to see if he had any information to share. Thanks for keeping us posted.
ReplyDeleteOh wow, thank you so much Mim!
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