Tag Archives: Australia Post

Going postal with Mail Art

Is Mail Art still a thing? With the decline in snail mail, I would have thought that Mail Art was redundant. However, last year in ArtNet News, Taylor Dafoe wrote that Mail Art enjoyed a renaissance with all the COVID-19 lockdowns. I don’t know; I haven’t received any recently but New York bookstore Printed Matter is still receiving them and has an exhibition of mail art in their window.

I last remember receiving some mail art in the 1980s, mainly from an undergraduate fine arts student and friend Paul Leech. So I messaged him and asked him how he heard of mail art. Unfortunately, he couldn’t remember and guessed that it was reading about Dada or Fluxus? Even then, it felt like the long tail of an art movement that started over twenty years earlier when Ray Johnson founded the New York Correspondence School of Mail Art.

The decorated envelope and postcards are almost as old as postal systems. And the post was an essential feature of art movements from Dada to Fluxus. What made mail art different was is that Mail Art is not about simply receiving art by post like the Art Box Club.  Mail Art is art that is consciously about the postal system. If art is a form of communication, then Mail Art is communication about a communication system.

Mail Art isn’t mentioned in any of the standard art history texts about art in the twentieth century. Even though, according to Stewart Homes (The Assault on Culture – Utopian currents from Lettrisme to Class War, 1988), it is the second-largest art movement of the twentieth century in terms of participation.

Mail Art exists along with the zines as an anti-elitist, democratic art form at the intersection of folk art and fine art. It is not art for art collectors to spend a lot of money on. It is not art for display in institutional art galleries where the aesthetics of awe are employed.

Leech was doing both zines and mail art; later, he made Phredpost artistamps a form within mail art developed by Anna Banana. Mail Art, zines and artistamps are very accessible in terms of techniques and materials inviting greater participation. The democratic nature of the art form, along with the inexpensive and accessible materials, means that anyone can participate.

Unlike commercial gallery art, where gallery directors, collectors, and others act as gatekeepers limiting participation, Mail Art has almost no gatekeepers. The only one that mattered was the post office, an institution that was unmistakably outside of the art world. A couple of artists have told me how good Australia Post is with mail art. Bark, pumpkins and other materials making it through the postal system provided that it had appropriate postage. Leech was pushing the postal system, testing its limits. His attempt to send a stamp addressed on the back of the stamp failed.

Is this still the long tail of mail art or a revival? Will people return to receiving tangible physical objects in their letterboxes instead of speculating on NFT online?

Paul Leech, Postscards with holes, 1984

Mimovich’s sculptures in Kew

Last year on Christmas morning, the ninety-nine-year old artist Leopoldine (Poldi) Mimovich died aged 99. This year Australia Post’s Christmas 2020 stamp features a painting by Mimovich. A madonna and child surrounded by Australian fauna and flora, illustrating Mimovich’s desire to adapt Christian images to Australia. Mimovich is best known for her Catholic liturgical sculptures which is why I hadn’t heard of her before I walked through Alexandra Gardens in Kew.

According to the bronze plaque in the garden, Mimovich gave the city ten sculptures in 1990. Her house and studio, at 33 Miller Road, was only a fourteen-minute walk away.

The sculptures are scattered around the garden: groups of children, a girl with a rabbit, a woman, a seated man with a long beard that flows over his foot. I could only find seven and one of them was concealed in the foliage so I wouldn’t be surprised if the other three were also hidden in the undergrowth.

Can you see the sculpture?

Unlike most of Mimovich’s sculptures, the ones in the public gardens have a secular theme. Like all of Mimovich’s sculptures, the figures have simplified forms, typical of mid-twentieth-century modernism. They work well with the garden setting, contributing to the scene a quiet, reflective mood.

During her very long life, she made many religious sculptures, and when she was no longer able to sculpt, she painted icons. In 1985 she received an Order of Australia Medal for services to sculpture. And in 1996 her experience as a post-war migrant coming to Australia was told in an episode of SBS’s series: Tales from a Suitcase.

Museums Victoria has a short biography of her: Leopoldine Mimovich, Austrian Migrant & Artist, 1949 by Stevenson, M. and McFadzean, M. (2010) This biography does miss one dramatic moment in her life. In 2014 her house caught fire in the afternoon as she dozed in her reclining armchair. She was rescued, unharmed, by three neighbours, but many of her sculptures were smoke damaged.


Shane Warne Bronzed

It was a big day for Melbourne’s public sculpture, a sunny summer morning at the MCG on Thursday the 22nd of December, 2011 – I wasn’t there I was watching the live broadcast of the event on the ABC News 24.

There were speeches from the Australia Post sponsors and the former cricket captain, Mark Taylor. The speeches were about Shane Warne being “immortalized in bronze” and joining the other statues of Australian sporting heroes at the MCG. After the statue was unveiled Shane Warne made a speech. Speculating on the bowling action of the statue Warne said: “ it looks like a leg break”.

In all the speeches there was no mention of the sculptor but this is typical fate for sculptors, like architects are often anonymous. This is because a sculptor, like an architect, cannot work alone; they need commissions and must work within the tight constraints imposed by those commissions.

The larger than life statue of Shane Warne is by Melbourne sculptor, Louis Lauman who has made all the statues around the MCG. Louis Lauman was born in the Netherlands in 1958 and immigrated to Australia with his family two years later. When he isn’t modelling statues in clay, he works as a technician at Meridian Sculpture Founders and lectures in sculpture at RMIT. Lauman has made many sports statues, religious statues, war memorial statues and the ‘Magic Pudding’ sculpture at the Children’s Garden in Royal Botanic Gardens, Melbourne.

The new statue is located at Gate 2 of the MCG. It is part of the Australia Post Avenue of Legends series. Australia Post has agreed to sponsor five statues for in Yarra Park over the next five years. (See my post about the other sports themed sculptures in Melbourne: Sporting Heroes).

Sporting sculpture in Melbourne continues to reflect the classical ideals of classical Greek sculpture. The point of classical Greek sculpture was to create memorials to idolized individuals, like athletes. Lauman is aware that the contemporary art world “loathes my sort of work; it has a visceral hatred of it. It took me a decade to make my mark and I realised that if I wanted to do this, I’d have to give something up, and I gave up the gallery circuit a long time ago.” I must admit that I don’t admire Lauman’s statues but I loath Shane Warne more.


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