The Monthly was banned by the San Francisco print companies in the early ‘80s. Yes, liberal, accepting of all things unusual San Francisco was not so hip in the print industry. I could not find anyone to offset print the first two issues because, “We don’t print content like this.”
Upon questioning what in the publication’s content these guys did not publish, it came down to the politics that was not agreeable. The Monthly was perceived to be a radical feminist and/or lesbian publication by the printer trade. Whereas, neither of the contributors thought it was political at all!
Becoming more determined to get the issues out into the art public, the Xerox copier was used to print the first two issues. Finally when the third issue was ready a friend referred me to a print company owner who was a Grateful Dead fan who would accept it for print…but there was a condition. I would have to understand that the pressman might be opposed to the job and the owner would not be able to control him.
So what did that mean exactly?
I asked to meet with the pressman to ask him personally if he found the content offensive. Upon his inspection of the galleys he agreed to run the job.
A week later I went back to pick up the completed zines and was surprised to receive a pile of layout boards with the waxed on text and finely tuned originals showing visible footprints. Also they were falling apart as if they’d been thrown across the room. The artwork was generally an overall mess. Plus I could only get the artwork returned when the printed copies were paid for, regardless of whether I liked the resulting job with the messy lines and paste-up marks.
So the third issue of The Monthly is a testament to those early zine days, before the print profession had to change its ways in more than attitude.
This Assembling is a small extract from the network, but in a slightly larger format, which not all the participants kept – that is mail art as well. It includes a postcard in an envelope, perforated artist stamp sheets, works of different reproduction techniques and contributions of a diverse nature. That suited the idea that first gave rise to this assembling, namely to collect material for a mail art exhibition in Berlin in 2012.
More information can be found at: http://wohlrab-verlag.de/editionen_jubilee.php
NY Art Book Fair 2012: Interview by Jennie Hinchcliff
Videos of My Scores Performed
Published on Jun 3, 2016
score by Ginny Lloyd
performed by Viv de Dada and Bibiana Padilla Maltos
video Mary Campbell
C. Mehrl Bennett performs Ginny Lloyd's Fluxus Direction Score at the Roanoke Marginal Arts Festival in Roanoke, Virginia during March of 2013. Video courtesy of Kala Ladenheim at firstname.lastname@example.org
Performance artist, Jennifer Weigel performed the Real News score at the Nature of Experience conference. Salem, Mass August 15 - 19, 2015
Write Your Own Score (advance to 15:13) - Mary Campbell performing my score at Fluxfest in Chicago, February, 2012.
Screw Head performed by Melissa McCarthy with Reed Altemus at the Knaus Biennale in Lithuania October 2011
Write Your Own Score - Keith A. Buchholz performing at Stampland in Chicago, Saturday Afternoon July 31, 2010.
Fluxus Meets Futurists - September 2009 performed at Chromospores opening with Ginny Lloyd and Jennifer Zoellner
Fluxus Sonata - September 2010 at the Jaffe Center of Book Arts with Lloyd, Wood, Altemus, Maltos, Buchholz, Coutrone, Seth and Jonas.
Pick Out A Book and Read - September 2010 performed at the Jaffe Center of Book Arts.
Score for Dali Museum - September 2010 performed at the Jaffe Center of Book Arts with Reid Wood.