> contents / Anna Banana - Canada / interview by Sztuka Fabryka (2000) /

1. How and when did you become involved in Mail-Art?

It seems to me I have written this so many times, it must surely be common knowledge. However: in 1971, when I was playing the "Town Fool" of Victoria, BC, I started publishing the Banana Rag, in an attempt to communicate my intentions to the baffled citizens of Victoria. (It didn't work) However, I sent copies of it to artist friends in Vancouver, and through Gary Lee Nova, received a copy of the Image Bank Request List. This was a listing of artists then active in the Mail-Art network, with their addresses, and a list of the sorts of images they would like to receive. I immediately made up a series of envelopes with their names and addresses, and proceeded to look for, clip and save the requested images, which I sent on to them, with a copy of the Banana Rag, and my own request for any and all things banana . . . images, news stories, magazine articles, cartoons, songs, poems, whatever. My mail box lit up, and I was immediately hooked!

2. Can you give us a short C.V. of your Mail-Art activities from the beginning till now?

No I can't. My CV is at home in Robert's Creek, and I'm currently in Banff. Best I can do is to say that I was VERY ACTIVE in the 1970's, publishing the Banana Rag and VILE Magazine, and entering as many shows and projects as was humanly possible.

3. What are your specific activities within Mail-Art?

Currently, my activities are greatly reduced, as my art moves in other directions. However, in the last year, I have become involved in the making and trading of ATC's . . . ie. Artist Trading Cards. The trading taking place both via the mails with various artists, and locally, both in Roberts Creek, where I introduced the activity, and in Vancouver, in monthly trading sessions initially organized by Bill Thomson and Lois Klassen.
From 1985 through to 1998, I was very active in the creation of artistamps (postage-like, full colour stick-ons {not rubber stamps}) and published my comprehensive newsletter Artistamp News from 1991 to 1996. Artistamp News was a 12 page annual, with reviews of exhibits, news, artist profiles, new editions were described, and full-color actual stamps were tipped in. I passed this publication on to Ed Varney, as it was taking too much of my time and financial resources.

I'll answer further questions as time permits. My current stay at Banff is to do the first presentation of BANANA SPLITZ, my interactive parody of a TV Game show, and I will be pretty busy with preparations for this in the next week. I'll be back in Roberts Creek Dec. 11, and ready then, to respond more fully to any questions you may wish to pose.

4. Why do you do Mail-Art?

I am "hooked."
I love getting fun and fanciful mail.
I enjoy exchanging art, ideas, letters, publications, projects with other creative people
I like taking part in projects and exhibitions that other networkers organize.
I like being part of an international "community" that shares the values of free exchange of art and ideas.
I like the playful, irreverent, exploratory, inventive attitudes/approach of mail artists
I like the inclusiveness of mail art . . . all work shown, no hierarchy of who is best . . . you just write to/answer those projects and work you like
I love the way people respond to my interest in bananas, and that they so GENEROUSLY send newspaper and magazine articles, clippings, stories, music, cartoons, all manner of printed matter relating to bananas, as well as so many amazing banana objects.
It gives/renews my faith in the generous human spirit . . . that is entirely outside the world of consumerism, commercialism, the "American dream" of the "good life," or the official, sanctified "high art world."
It makes me feel loved and appreciated
I love sending out news of my projects and activities, and involving others in my works.
I love getting to know people in other countries and cultures, as it helps me feel more like a citizen of the world, rather than a "national."

5. What do you think about being seen as a famous Mail-artist?

It's inevitable, since I've been active for 30+ years.

6. How do people write to you or react on your mail?

Thankfully, most don't go into any big fan-type/hero-worship type reactions, but just treat me like any other in the network. Occasionally someone will express admiration for my "record," or whatever . . . or say they've admired my work for a long time, which I find surprising, since mail-art is so much between individuals, I'm inclined to forget all the publications I've put out, the shows and projects I've taken part in. So those words of admiration are OK, as long as they don't lay it on too thick. If that were to happen, I'd be inclined to file the mail without answering. After all, the network is about exchanges between equals . . . a level playing field, a non-hierarchal scene, and all that. (which we all also know, is not so . . . that some people are "more equal" than others! Ie., there ARE heros/people we look up to/admire. Baroni is one of those for me, even though he has been "in" less time than I have, I admire his experimentation with publications and his excellent ability to write about the network and the processes involved.

7. What happens with the Mail-Art you receive? Do you have a Mail-Art archive?

I have kept it all, (since 1971) filed alphabetically in boxes, but not catalogued. I am actively looking for an institution that will accept it upon my death, or perhaps purchase it earlier than than. I approached the National Gallery of Canada at the beginning of 2000 about it, but they declined. They have the General Idea archive, so I thought perhaps . . . In 1995, I approached the National Poastal Museum about the possibility of their buying it, and they counter offered to purchase 400 pieces, which I was to catalogue. I accepted their offer, with the notion that having at least some of it in such a museum would set a good precedent, and perhaps later they would decide they should have it all.

I am currently looking for a permanent home for it, as I feel this 30+ year accumulation of mail art is incredible research material for future art-historians. In the meantime, I hope to have time to write my own book about mail-art, and draw on my amazing collection for examples and illustrations. I do not have the free time to catalogue it all. Having done the 400 pieces the Postal Museum took, I know how time consuming and tedious cataloguing can be. I am a single woman, have pursued an art 'career' since 1969, (= minimal income) and worked as little as possible for others, which means I have no savings or pension to speak of, and no partner to help cover living costs. Thus, most of my time goes into paying contracts for stamp production, curating, performances, writing, grants . . . and putting out proposals for this sort work. These activities eat up most of my time so I don't have time to do the cataloguing ... unless I were able to get some institution to sponsor this work, which I hope to do. (= more proposals).