This entry is written by Camila Aguirre, a graduate student in NYU’s Archives and Public History Program. As part of her capstone project, Camila rehoused and amended the description of Mark Bloch PAN Archive’s Series I: Mail Art and Correspondence.

Saving the Mail: The Rehousing of the Mark Bloch PAN Archive’s Series I: Mail Art and Correspondence

Between January and May, I had the opportunity to work on the “Mark Bloch Postal Art Network (PAN) Archive” as part of my capstone project. Currently residing within the Fales Library and Special Collections, this archive is a treasure trove of small and varying pieces of “mail art” from all over the world collected by artist Mark Bloch, an American artist and writer that explores long-distance communication through visuals and text. In 1978, Bloch founded the “Postal Art Network” (PAN), through which he distributed and received art and connected with artists, institutions, and cultural workers from dozens of countries and all fifty states. The Mark Bloch PAN Archive, currently spanning from 1971 to 2009, holds this correspondence mainly consisting of “mail art samples” and other materials related to it. 

My work with this collection involved the iterative processing of former “Series I: Mail Art/Correspondence” and “Oversize Series I: Correspondence.” Essentially, I provided a new arrangement by consolidating both series under the new “Series I: Mail Art and Correspondence,” amended the finding aid to improve intellectual access to the collection, and rehoused the said series to facilitate their long term preservation. The latter represented the most work among these activities, but it also allowed me to explore and engage with the materials.

Every box and folder that I opened held items that were both exciting and challenging at the same time. I don’t believe that I ever found so many different formats in one collection. From collages to a matchbox with bones and feathers inside, I was in constant awe of the talent and creativity I kept unearthing. That creativity, however, constituted the challenge when it came to preserving it. The collages, for example, were assembled with aging adhesives and a wide assortment of elements like magazine and newspaper clippings, glitter, paint, and even unconventional things like glass and toys. The interaction between these components means that aging and deterioration will differ in each section of these art pieces. Another format constantly found in this series was manilla and brown kraft envelopes, cartons, and cardboard cards, all inherently acidic. These were also painted, had stickers, or served as a collage base. Painting, drawings, and postcards colored with oil paint, watercolors, and markers were also a problem because of their chemical composition. All of these materials affected other items stored in the same folder as them.

Above: Matchbox with bone and feathers by Rosebud Matchbox Art Museum; Mark Bloch Postal Art Network (PAN) Archive; MSS 170; box 95; folder 4; Fales Library and Special Collections, New York University Libraries. Photo by Camila Aguirre.

Above: Acid-deteriorated collage compose of different aging elements by Hiroshi Matsuyama, 1987; Mark Bloch Postal Art Network (PAN) Archive; MSS 170; box 94; folder 7; Fales Library and Special Collections, New York University Libraries. Photo by Camila Aguirre.

Above: Loose manilla and brown kraft envelopes and cartons from former Subseries C: “Empty Envelopes.”  Photo by Camila Aguirre. 

Additionally, there was mail art in unusual forms like the matchbox mentioned above, a feather glued to a stick, sandpaper, plastic tubes, dirt, confetti (which was incredibly annoying because it kept going everywhere), and toy soldiers. Finally, the boxes were too heavy in terms of storage, and the folders were slumping, overstuffed, or misshapen. There were also several oversize materials and, on the other hand, small cards and clippings that kept falling from the folders.

Above: Toy soldiers by Undetermined Correspondent; Mark Bloch Postal Art Network (PAN) Archive; MSS 170; box 18; folder 8; Fales Library and Special Collections, New York University Libraries. Photo by Camila Aguirre.

Above: Slumped folders in box. Photo by Camila Aguirre. 

Rehousing and basic preventative conservation measures were applied in response to these issues. The latter included several activities like splitting the overstuffed folders and separating oversized and oddly-shaped materials. Acidic items and the ones with possibly damaging physical or chemical properties, like cardboard, manilla envelopes, and paintings, were placed in acid-free paper pockets within the folders. Mylar sleeves were also used for small loose materials and collages with detaching components.

Above: Current folder appearance. Photo by Camila Aguirre. 

Above: Acid-free paper pocket within folder. Photo by Camila Aguirre. 

Above: Confetti in Mylar sleeve. Photo by Camila Aguirre. 

Most of the new Series I is currently neatly housed in legal manuscript boxes. For its part, the oversize items are now in oversize flat boxes, and the postcards were placed in binder boxes. Due to the unusual formats and oddly-shaped items, not many folders could fill the boxes without them fitting too tightly and possibly damaging the materials. As a result, the maximum number of folders in the new boxes goes from eight to 25. 

Above: Series I new boxes. Photo by Camila Aguirre. 

Above: Inside new legal manuscript box. Photo by Camila Aguirre. 

Above: Sleeved postcards within the box binders. Photo by Camila Aguirre. 

Above: Inside new oversize flat box. Photo by Camila Aguirre. 

I am happy to say that the Mark Bloch PAN Archive is now easier to explore intellectually and physically. It is rewarding to witness how with just basic preventive steps, one can significantly contribute to the preservation of a collection that holds the creative expression of people from all around the world. I am hopeful that its content will continue wowing people, just like it did me, for years to come. 

The Mark Bloch Postal Art Network Archive is open to all interested. Please check the Guide to the Mark Bloch Postal Art Network (PAN) Archive MSS.170 for more information. Additionally, You should look forward to “Panmodern!” an exhibition of the archive that will soon open.