September 2024: Hinchcliff launched the Feministo 2024 Project to connect women in the mail art and encourage the use of physical documentation through the exchange of mail art. The project is inspired by Ginny Lloyd’s Blitzkunst questionnaire project and Monica Ross’s Feministo: The Women's Postal Art Event (1975–1979). The initiative involves compiling participant responses into collaborative zines, which are then distributed among contributors.
Positively Charged: Copier Art in the Bay Area Since the 1960s || Exhibition curators: Maymanah Farhat, Jennie Hinchcliff || Venues: San Francisco Public Library, San Francisco Center for the Book
Throughout the 1960s and 70s, the radical potential of copier art and quick printing was embraced by artistic communities across the Bay Area, while the 80s and 90s ushered in an expansion in the way artists and individuals utilized copiers. By highlighting the activities of these art spaces and the artists who founded and ran them, the exhibition introduced viewers to the Bay Area’s extensive network of copier artists and history of copier art in the Bay Area.
Cognitive Distance: the Bookworks and Thoughtforms of Timothy C. Ely || Curator: Jennie Hinchcliff || Venue: San Francisco Center for the Book
Compelling, contemplative, and visionary: these are words that have been used to describe the work of artist and bookbinder Timothy C. Ely. Showcasing approximately forty manuscript books, drawings and prints created by Ely over the past fifty years, Cognitive Distance: the Bookworks and Thoughtforms of Timothy C. Ely introduced gallery visitors to Ely’s extraordinary version of world-building.
Between 2021 and 2022, Hinchcliff produced the podcast Senders Receive: Making Mail / Sending Art, interviewing artists and exploring the history of mail art. The podcast included discussions on the creative processes of artists engaged in postal exchanges. Interviewees included Sas Colby, Sally Wassink, Mitsuko Brooks, and C. Mehrl Bennett. As of summer 2023, the podcast is on hiatus.
Ex Postal Facto (2014): Hinchcliff organized the Ex Postal Facto conference in San Francisco in February 2014, modeling the event after mail art congresses of the 1980s. The three-and-a-half-day event included presentations, vendor exhibitions, social gatherings, and the exhibition mail/art/book, which displayed works from mail artists worldwide. Event venues included San Francisco Center for the Book, Chronicle Books, and the San Francisco Public Library. The event was covered by Hyperallergic for its role in bringing attention to the mail art scene.
San Francisco Correspondence Co-op (2011): In 2011, Hinchcliff founded the San Francisco Correspondence Co-op, a monthly social club for mail artists and postal enthusiasts. The Co-op operates as a member-led organization, with members taking on various roles to sustain its activities. Monthly meetings feature demonstrations, showcases of members’ work, and discussions on mail art practices. In 2023, the Co-op was featured in a KTVU interview on the group's activities. Other Correspondence Co-op groups have been organized in cities like Portland, OR, Chicago, IL, and Puget Sound, WA, inspired by the San Francisco model.
Good Mail Day (2009): In 2009, Hinchcliff co-authored Good Mail Day: A Primer for Making Eye-Popping Postal Art with Carolee Gilligan Wheeler, published by Quarry Books. The book serves as a guide to creating mail art, guiding readers through DIY projects, and providing information about the genre. That same year, the Smithsonian National Postal Museum featured Hinchcliff and Wheeler in an article titled “Take a Break From Tweeting and Send Mail Art” on the book’s role in renewed interest in mail art.[i]
Red Letter Day (2005-2011): From 2005 to 2011, Hinchcliff produced the mail art zine Red Letter Day. Each issue had a theme and included mail art project announcements, articles, and submissions from other artists. Hinchcliff credits Red Letter Day with introducing her to a broader group of correspondence artists from around the world and inspiring her to organize postal projects and exhibitions of her own. Hinchcliff's mail art alias, "Red Letter Day," is an extension of this project and has become synonymous with her mail art style.