The success of the
Davidson Galleries' 1st international Artistamp exhibition held in December of
'89 led to several important developments. Early in 1990 the Davidson
Galleries made a long-term commitment to the field by deciding to support the
formation of the Pacific Northwest Artistamp Collective (PNAC) and to sponsor
an exhibition of Artistamps every two years.
The PNAC is
comprised of invited artists from around the world who are engaged in the
on-going production of Artistamps. Participating artists submit a portion of
their Artistamp production (mostly limited, signed and numbered 'mint' sheet
editions) to the Collective's headquarters at the Davidson Galleries where they
are reviewed and, on the approval of the curator, placed in a cabinet of
drawers where they are available for public viewing and purchase. The PNAC,
shortly after its formation, received a grant to present an exhibition at the
1990 Seattle Arts Festival (Bumbershoot). The exhibition was viewed by more
than 11,400 visitors during the eight days of the Festival and many people
began to collect Artistamps for the first time. A catalogue was published and
that exhibition begins its Canadian tour early in 1992.
When members of PNAC
were invited to submit new editions for possible inclusion in the 2nd Biennial
it was suggested they might help celebrate the 50th Anniversary of the 1941
production of the first known Artistamps by Karl Schwesigby issuing their own
commemorative. Several members did so and they have been included in this
exhibition. It was also decided to focus this exhibition on the artists of the
Pacific Northwest by including a larger sampling of their production and by
publishing a special commemorative sheet with six specially designed
Artistamps by Pacific Northwest artists: Anna Banana, Ed Varney, Dogfish,
Francis Hall, Joseph Gagnon and Graphic Rhetoric.
Interest in
Artistamps has always been based on the similarity of the form to that of
official government postage stamps and this was a primary consideration when
selecting work for the Collective as well as for this exhibition. Each
individual Artistamp contained in a 'full mint sheet' should stand on its own
as a pseudo postage stamp. Perforated images without the 'look and feel' of
postage stamps as well as Poster stamps, Charity stamps and other recognized
philatelic areas have been excluded as they are not true Artistamps; i. e.
pseudo postage stamps instigated and created by artists for themselves, their
friends, and you - their patrons.
Finally, thanks are
due to the many artists who have been supportive of this long-term project and
especially to Ed Varney for the use of his equipment in the development of
this catalogue.
Jas. W. Felter, Curator, The Pacific Northwest Artistamp Collective
INTRODUCTION 
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