William Evertson created one of the most surprising packages we’ve received for the Mail Art Bulletin. His padded envelope covered with grids and stamps of all kinds, including one that read “Will Work for Food” and another of our Hyperallergic “H” logo, arrived in a bulging package that we couldn’t wait to open.
Inside was an array of postcards — mostly from past exhibitions, I believe — cryptic writings, including one that is titled “No Books for the Dead” and ends, “I finally knew when I was dead because I watched it on TV.” Another longer piece of writing is a short story about a man cross-stitching text messages from the dead, even people who died before text messaging was commonplace.
Among the paper items were a series of small pages with hashtag drawings that I soon realized were tic tac toe boards. There were four black velvet pouches among the pages, two containing small carved plastic stamps in the shape of right hands and two containing ink pads, one ruby, the other cerulean. I immediately asked Kyle to join me in a small game, which ended in a stalemate.
This mail art work appears to be an adaptation of Evertson’s The Choice in You interactive performance series, which has since developed into his Ox and O series of artist boxes. He has a beautiful explanation on his website that explains how he views the grids as decision fields and that each game you play is a meditation on “the nature of each symbol and choice.”
The cryptic nature of his work appears to be part of his practice, and the artist statement on the homepage of his site suggests as much:
Most simply, I am an artist. I make marks. With ink, dabs of paint, words and flickering electrons.
Similar to remembering details in dreams, I grasp for small fragments of meaning. *
*Thirty years ago my artist statement would run five hundred words as I tried to describe my work.
Currently I’m considering removing the last two sentences. William Evertson
Fragments of meaning is something I can completely relate to. Working and living in 2011 seems to be endless variations of that idea. Below is what we found in his mail art package.
If you would like to be considered for inclusion in our Mail Art Bulletin, please send your mail art to:
181 N 11th Street, Suite 302
Brooklyn, NY 11211
Robert Legorreta, also known as “Cyclona,” discusses the origins of his performance art and ongoing political activism.
A caustic New York Times review from 1975 almost destroyed his career, but he remained one of the most influential artists of the 20th century.
How do we consider land-inspired art in an age when huge swaths of our shared world are being clear cut, mined, drilled, and desertified?
A documentary trilogy follows the life of Thich Nhat Hanh, who expounded the principles of engaged Buddhism.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Sea View, conceived by Jorge Pardo as both an artwork and a residence, embraced the dissolution of borders between disciplines.
The Legion of Honor in San Francisco says it’s the first exhibition dedicated to the Renaissance artist’s drawings.
“Untitled” (1961) by George Morrison is the first work by a Native American artist to join the museum’s Abstract Expressionist collection.
“You can’t have idols; it’s in the second commandment,” he screamed before being arrested.
Join the New-York Historical Society on February 10 for a virtual conversation about our changing relationship to the natural world with Julie Decker, John Grade, and LaMont Hamilton.
Manhattan now has its own, downscaled version of the artist’s famous Chicago sculpture, oddly squished under a luxury condo tower.
Increased oil tanker truck traffic would “seriously degrade” the experience of viewing the canyon’s Indigenous rock art, said one advocate of the site.