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What ACEO is all about
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Before we have our interview with Don (aka Chuck Steak) we need a few definitions! I've talked to him about this and this is what we have come up with
CMA - Correspondence/MailArt. An international postal network (papernet) of artists and non-artists that has been in existence since the late fifties. Participants in the network exchange art freely and hold numerous exhibitions on an ongoing basis. ATCs are sometimes considered to be a subset of CMA. ATC - Art Trading Card. An event created by Vanci Stirnemann where artists came together to trade little 2.5 x 3.5 works of art. Also the name given to the trading cards themselves. ACEO - Art Cards, Editions and Originals. For the first time non artists can own art cards by purchasing them. These are mainly sold on line through auction venues such as eBay.
Interview with Chuck SteakChuck, can you tell us a little about yourself as a start?My name is Don Mabie AKA Chuck Stake. I adopted the name Chuck Stake in 1972 when I became involved with Correspondence/MailArt (CMA) and it is the name I use for a lot of my art activities including Artist Trading Cards (ATCs). (CORRESPONDENCE/MAILART INFO: There are a number of books available on CMA. CMA is VERY well represented on the web including (in my humble opinion) the best essay on CMA, Michael Lumb's essay, MAIL ART 1955 to 1995/Democratic art as social sculpture, it is EXCELLENT and provides all the information that one could want, VERY interesting, VERY long --- AND, it is only available on the web and is located here) How did you became involved with Art Cards?
After attending the TS in Zürich I brought the idea back to Calgary and we had our first TS in Calgary in September of 1997. ATCs have spread from Calgary across Canada, to the USA and to Australia. I think it is important to note that artists have used the concept and format of collectible cards, that is the 2.5 by 3.5 inch size/format, a number of times in the past thirty or forty years for a number of different purposes. They have been used by artists to promote their work; for commercial purposes; as catalogues; etc. Particularly in North America, collectible cards are ubiquitous and were part of almost everyone¹s childhood, be they Hockey Cards, Barbie Cards, or whatever variation. To my mind vänçi¹s unique contribution was the idea that the cards be made to be traded --- the Trading Session, and, of equal importance, that the cards could be handmade, they did not have to be manufactured. It was these two simple, but brilliant, ideas that created the concept of ATCs.
There are a number of aspects of ATCs that I like. The key to appreciating/understanding ATCs is to attend and participate in a Trading Session --- it is definitely a rush! Part of the rush is the anticipation of what kinds of cards will be traded at the particular Trading Session due to the endless creativity of the participating Traders; there are always new and unique cards and approaches to making cards at each Session. I am always amazed at the range of the creative efforts while looking through someone¹s binder and deciding which cards I would like to trade with them on that day. The one-to-one interaction while trading is a key aspect of ATCs, and, as a definite bonus, you acquire an extensive collection of superb miniature-works-of-art. ATCs are about the social situation which is created in the space during a Trading Session. Seek out and enjoy an ATC Trading Session, or, start one in your location and ENJOY!!!!! Another aspect of ATCs that I like is that they are easily accessible by the general public and they involve both artists and non-artists --- that is, and has been, a primary motivating factor for me for my involvement in art --- that art be accessible to potentially everyone. ATCs challenge a number of artistic and cultural paradigms. Monique Westra, (Calgary¹s FastForward weekly newspaper, September 07 - 13, 2000) wrote: "Mixing traditions and practices of both the art of high culture and popular fads, the enterprise defies hierarchical categorization and erases the distinctions between high and low art. Through transgression and blurring of boundaries, it is a perfect example of postmodernism at its best. The creative freedom and spontaneity of artist trading cards also recalls the era of Dada."
When you are creating your cards what mediums do you use? I employ a lot of different approaches in creating ATCs, including: drawing, collage, rubberstamping, computer/digital works, stickie-back cards. The majority of the cards I make are drawings, usually pen and ink drawings --- or, they begin as drawings and are then scanned into the computer and reworked digitally. I trade a lot of originals and I trade a lot of digital copies or digital cards. What do you look for in other peoples cards when you are trading? I think I primarily look for interesting images or cards that are experimental, that push the boundaries, that employ interesting media or techniques. I trade for a lot of drawing cards, so, I keep my eyes open for drawing cards. I like cards that employ humour. My collection is large and diverse, so, I suppose I look for a lot of different things. Thank you for your view on the ATC phenomenon Chuck!
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I first become aware of ATCs when I received some in the mail in early 1997.
These cards were from m. vänçi stirnemann, from Zürich, Switzerland, who is
the originator of ATCs. I received the cards in an envelope with a lot of
other visual information and I just thought of them as more
Correspondence/MailArt, I assumed they were another form of CMA and I did
not think too much about them. Then, a couple of months later, I was in
Zürich and I had the opportunity to attend what I believe was the first
public Trading Session and it was an exhilarating experience and my thoughts
about ATCs changed dramatically --- I feel the true ATC experience is
face-to-face trading.
What aspect of the cards do you like the most?
The most important aspect of ATC activity for me is that ATCs do not involve
the exchange of money. I can't think of anything more radical for art to do
in Western society, or even global society, at this time than to make a
statement by engaging in an activity that is not about the exchange of
money. For most of my life I have observed the ongoing commodification of
pretty much every aspect of our lives. Our society in general, as well as
the art world in particular, seems to be completely obsessed with money to
the exclusion of many other more important aspects of living and of art ---
I see ATCs as a symbolic stance against this obsession with money.