JCM THE MUSEUM LIBRARY
"Who ever said mail artists were logical?" - Mark Bloch

Ruud Janssen with Mark Bloch

TAM Mail-Interview Project

(WWW Version)


Started on: 12-02-1995

RJ: Welcome to this mail-interview. First let me ask you the traditional question. When did you get involved in the mail-art network?

Reply on: 25-02-95 (internet)

MB: I first did mail art in 1968 when I did a postage stamp of a kid in my 6th grade class who used to scream a lot. He had some sort of personality disorder and as a 12 year old, I thought this was very amusing so I immortalized him with a stamp. I first used rubber stamps of Popeye, the cartoon character when I was 5 years old or so. My first use of the mail for artistic use as an "adult" was around 1976-1977 when I bought some used rubber stamps from a little shop in Kent Ohio where I was in college. They had belonged to the members of DEVO, I think.

I began to send mail art to people on postcards without knowing what mail art was. I watercolored and drew on the cards, too.I became interested in rubberstamps that way. That led me to The Rubber Stamp Album by 2 women. I think one of them was named Joni Miller but I'm not sure. Maybe one was named Lowry? Anyway, that book had an article about mail art in it. I realized that I was not the only one doing it. I got Ed Higgins' address out of it and sent him some mail art. That was after I had graduated college and had moved to California. 1978. Also at this time, I came across a little poster for a mail art show stapled to a tree with Bill Gaglione's address on it. I sent him something. The Poster was put there by the Westside Agent Michael Mollett, a mailartist from LA who later became a friend.

All of this happened around the same time. I also saw the work of Ray Johnson in that Rubber Stamp Album for the first time. It made an impression on me (no pun intended). But I didn't know I could write to Ray myself. So I didn't start with him until 1980 or so. Ed Higgins also started me with Ed Golik Golikov, a early member of the New York Correspondence School living in Denver Colorado. I also saw a big rubber stamp art exhibition by Stephen Vincent Benes in Santa Monica California. Come to think of it, I think that is where I heard about the Rubber Stamp Album. Yeah, I went to the show because I was using stamps and I saw a mention in a newspaper, when I visited the gallery I heard about the book and from the book I heard about mail art.

By late 78 I decided to make my activities official. I contacted my friend Kim Kristensen in Ohio, back where I used to live, and asked him if he wanted to be PAN Midwest. He said OK. Michael Heaton, another guy I had been sending art to through the mail after my graduation from college moved to New York and he became PAN East. I lived in Laguna Beach California and became PAN West.

Within a year I was in touch with people all over the world. Shozo Shimamoto and Rysuke Cohen sent some of their first mail art at that time to me. I also received things from Booster Clevellini who was actually Buster Cleveland but at the time I got him and Cavellini mixed up so I couldn't understand what all the hype was about when Cavellini made his fist US visit in 1980 for Interdada 80.

Anyway, after Cavellini's visit I became very much involved with mail art. Seeing some of the people in person, including my earliest correspondent EF Higgins, helped me to understand the network. I began to use the name PAN myself and my friends in Ohio and New York continued to be correspondents but by then ceased using the PAN name. POSTAL ART NETWORK was what Pan stood for, but soon it became clear that the bigger postal art network was something I should participate in and using the name PAN for myself was more interesting, just as Higgins used Doo Dah and Gaglione used Dadaland. So that is how I became Pan. A few years later I started to notice similarities between myself and the greek goat god Pan but that is another story.

RJ: How did things develop after you started with mail-art and meeting mail- artists. How did you get involved in the communication with the use of computers?

Reply on: 11-3-95 (internet)

MB: Things developed rapidly. I was very inspired by the Inter-dada 80 festival. I met Cavellini for the first time. Also Buster Cleveland, Ed Higgins, as I said above, as well as Bill Gaglione and other "2nd generation" mail artists. I also had the pleasure of meeting Al Hansen (Hansen died shortly after Mark Bloch wrote this - ed.) , who is a very important art historical figure who has avoided the spotlight due to his extreme views of the art marketplace. Those very views are what attracted me to him in the first place. I knew immediately I was dealing with "the genuine article." He was in John Cage's composition class at the New School with Dick Higgins and the other pre-fluxists and was an important contributor to the first happenings. In fact, he was doing them before they were called that. So I sat spellbound as he and Cavellini drew portraits of each other in a Pasadena coffee house. I also joked around with him, asking him for his autograph on a very tiny piece of paper. He wrote "Alan Kaprow" folded it up and handed it back to me. I was amazed that I could interact with a person like Hansen who was a legend to me.

I realized then that the mail art network would allow me to collaborate with people of Hansen's stature if I wanted to. I was also very impressed with the other mail artists and the spirit of dada that engulfed the various events I attended. I recall Josine Starrells Janko, the daughter of dada Marcel Janko, gave a lecture at the Venice (California) jail. She said the mail artists were not as dada as her father's generation of dada and she may have been right. But I didn't care. I was very happy to be dealing with people who KNEW about dada. Up until that point, I had only read about such things and was ridiculed and labeled a trouble maker when I pursued such activity at college, before I had heard of mail art.

Now here were a whole lot of people who had studied dada as I had, who valued it's anarchistic spirit and were taking actions to promote it in a new context. I was thrilled.

I began to correspond with as many people as I could and tried to meet them if they were local. I was always interested in meeting people in a way that reflected the chaos and fun of mail art so I proposed bizarre ways of getting together with people. I met correspondents Jim Reva and Maia Norman at Laguna Beach with a theme of MEAT (meat equals meet.) I brought along an entourage of friends and kids and a giant cow with an actual cow head locked in a paper maché head. They were waiting for me at the designated time and place (1pm July 6, 1980) dressed as butchers with meat spread about them on the sidewalk. We have been friends ever since. A videotape was made of the event and its aftermath.

I also corresponded with a local guy called the LA Obscurist Club. Somehow we started corresponding about mice and then cat and mouse and finally I proposed a Cat And Mouse game to meet. He wouldn't do it but we did exchange some pretty wild objects at each others' doorsteps and through the mail. Eventually we met at a mail art show.

Those were the early days of mail art meetings for me, also with Jerry Dreva; David Zack , who lived in LA then. Eventually I met a lot of the people I corresponded with, using various degrees of fanfare. But I always enjoyed the experience of meeting people in person. Things changed drastically in 1982 when I moved from LA to New York. I saw a poster that said Cavellini was going to be in New York. I called the number and ended up speaking on the phone to Buster Cleveland. He said I could perform at the gig. So I was part of a bill that included many of the people I had been corresponding with. One of them was Carlo Pittore. I will never forget our initial meeting, he was yelling to me from the bottom of a stairwell and his big smile and warm greetings were like a Welcome Home to the network. I experienced comraderie from that point on that did not exist in the LA mail art community. Or at least I did not feel a part of it.

Carlo introduced me to John Evans, John Jacob, Ray Johnson, Steve Random, Jean Brown, Zona (Bernard Banville) and many other mail artists. Foreigners came to visit like Arno Arts, Jürgen Olbrich, HR Fricker, Henryk Gajewsky, Sonja Van Der Burg, Günther Ruch. We had all sorts of parties and events for each of them. I always made a special point of having a one-to-one face-to-face meeting with people at least once. I value those collaborative meetings a great deal. It began to seem obvious at that time that the future of mail art was going to be in those meetings. I began a series of interviews with mail artists myself at that time -around 83- for The Last Mail Art Show. I felt that contact between those of us in the network was very important. I knew then what were later formalized in Tourism and in the onslaught of mail art writings that followed.

As for computers, I knew that was an eventuality, too. In the first edition of PANMAG (Panmag Number 1, there had been two others before it- Panmags 391 and 451. And there was also a Number 2 of 391 making it even more confusing. But anyway...) I made a sticker that said that the next logical step for mail art was computers- "But who ever said mail artists were logical?" I'm not sure of the exact date of that sticker but it was the first time computers were mentioned in mail art, to my knowledge.

Anyway, such things are not important because someone else always did something "first." But the point is that I was very interested in computers from the start. I should have mentioned that the stickers I made were done with a computer.

In 1977, around the time I started with rubber stamps, I made my first work of computer art. It wasn't made with a computer at all. It was a canvas with all sorts of information about computers collaged on it, including a portrait of me made by a computer. The type of thing you could have made at a shopping mall at that time for a very high price. I couldn't resist having one made of my image and cutting it out for collages.

Actually I forgot to mention that I also used that same image to advertise a show I was having at my college. It was called 11-7-77 to 11-11-77. I stenciled those dates onto the computer image and stuck it everywhere on the Kent State University campus. My name did not appear, just numbers. Oh yes, I also used my social security number for my name.

So yes, I was very much interested in computers from before I ever heard of mail art. I took a class in FORTRAN in 1975. I wish I had stuck with it because now I wish I were a programmer.

In the mid eighties I used a graphic computer to create drawings of me as Pan. I also used a different computer to make random lines on a piece of vellum by attaching a pen to a moving computerized table.

In 1990, after a brief experiment with the WELL in California, I started Panscan on the Echo Teleconferencing BBS. Panscan was a link between the Internet and the mail art net. Unfortunately not enough mail artists had computers then so it took a new direction, away from mail art. We did things like create a collaborative poem or tell stories about how we got our taste or discussed the Art Strike and The Word Strike or talk about Dada and Duchamp as well as mail art.

Now (1995) more mail artists have computers so I am hoping I can continue with my original plan of a more concrete link between the two media. Also I should mention that a few mail artists did access Panscan once or twice- Charles François, Guy Bleus, CrackerJack Kid- and many others saw it on their visits to New York- John Held and Xexoxial Endarchy and Mark Pawson.

I think the future for mail art and computers is bright. Especially now that I am in the process of creating a PANSCAN HOME PAGE on the World Wide Web.

RJ: In the time you were doing the Panscan I was experimenting with the digital TAM-Bulletin (as a BBS-service). It seems the time wasn't right then as you mentioned. Also the costs for data-communication was then a problem. Now, in 1995, the sending of this question to you by E-mail via INTERNET costs me half the price a normal envelope with the question would cost.... But the difference is that I send you the question in digital form. Just ASCII, and no color, no smell, no touch of my hand that you can trace. Is the electronic communication ready for artists?

Reply on: 18-03-1995

MB: You say .... just ASCII, and no color, no smell, no touch of my hand that you can trace. Is the electronic communication ready for artists?

I say- YES YES YES. I think you have given a good case in favor of it with your question. The electronic communication IS ready because there is no color, no smell, no handprints! The Internet needs artists!

Most of the home pages I've seen are pretty lame. There is very little inspired work going on. In fact, in ALL spheres of influence on our planet there is very little inspired work going on- not just Internet or World Wide Web but also in the Art Market and in the political arena and in the business arena and YOU NAME IT. The world needs artists!

The business world is perhaps the MOST creative area of human endeavor right now. Isn't that ironic? They have come up with the most creative solutions in the computer area and even in the problem of what to do about Eastern Europe. The businessmen lead the way (after the mail artists, of course, we were there first, as usual). Sure they fuck stuff up too, but I look at the planet and what it needs and it needs so much and I see a big gap that artists need to fill. So yes, the answer is YES. There IS room for artists on the Net, it is imperative.

You spoke of ASCII. I pride myself on the fact that I use ASCII in my work. I am only now -in 1995- getting a high speed modem. Up until now -for 7 years- I have used a 1200 baud modem. I like that! It is cheap and easy to use- not just for rich people in the USA but for anyone anywhere. A cheap computer and a modem can be pretty inexpensive. The phone bills are another problem but if we are clever we can also overcome that obstacle too.

I prefer ASCII, very low tech computer communications. Why? Because then we have to rely on the written word. That requires a person goes into their INTERNAL network of experiences and feelings and thoughts and COMMUNICATE through the written word. I like that.

I am working on an autobiographical novel. It contains no pictures. But with 184,020 words I have communicated most of what has happened to me and how I feel about it fits in a 1052 kilobyte file. I can put it on a floppy disc and send it to you or just include it in this letter and e mail it to you. You'll read all about the colors and smells and experiences that are my life in great detail.

I have never believed that being an artist meant being a visual artist. Though I also see opportunities for visual artists in computers.

RJ: One of the things I find difficult with the electronic communication is the archiving-part. My mail from the P.O.Box I can put in boxes, but somehow archiving the text-files and the graphic files is more difficult because it is connected to the changing hardware and software as well. How do you archive your mail-art? (both the snail as the electronic mail)

Reply on: 25-03-95 (Internet)

MB: Well, now you've hit on something interesting because my archive is completely unmanageable! The hard mail (snail mail) used to be organized - I think it was completely perfect for 15 minutes in 1985 or so- but now it is EVERYWHERE and completely UNorganized. I actually paid a guy to come in and work on it with me in the mid-eighties and that is when things got good. I set up a system and he implemented it.

Everything was separated by size. There was basically the postcards, the letter size envelopes, the larger envelopes and the big envelopes and then the packages, I believe. Within those categories it was set up according to countries and states (for the US) and then within those categories alphabetical by person's name. Not their real name but the one they used. That system worked ok for a awhile and I plan to put everything in that order eventually but for 10 years it has just piled up chronologically in cardboard boxes.

Especially the past 6 years I have been on Word Strike and Ex Post Facto, Retroactive Art Strike and so I haven't answered but 5 or 6 pieces of mail in all that time. So all the mail goes into piles by WHEN it was reviewed. To be answered and sorted later. Of course I will probably never answer most of it. But I would like to. I still receive a lot of mail, believe it or not, and I am thankful for it.

So mostly we are talking about a big file cabinet filled with organized mail art, some boxes filled with organized mail art. There are also 4 big boxes that I call the Last Mail Art Show. They contain pieces I selected in 1984 that I wanted to use for the catalogue to my show of that name (that never got made.)

The rest is just chaos.

Also- I made an agreement to give whatever I don't want to the Kent State University Special Collections Library in Ohio, where I went to college. They have a very nice collection of all kinds of manuscripts there and I am honored that they want to preserve any mail art I want to give them.

They also have the collection of a New York mail artist named Tom Wirth who died a few years ago. Tom was a member of the New York Correspondence School with Ray Johnson in the 60s. His collection of correspondence ended up in Kent which is wonderful because between his archive and mine, they have a very thorough collection mail art from the early 60s thru to the present.

So I occasionally get it together to send them some boxes of mail art that I have looked through. I go through the boxes and pull out all postcards, which go into a huge box I have. (It used to be a box that a mail box was bought in!) I also pull out the artistamps. They go in a special place. So do the show catalogues and projects. Then I save any personal correspondence with friends or family. And anything I just happen to like. Those items go into the Pantheon and will be categorized as I mentioned above some day. The rest I send off to Kent.

I also have a huge pile of xeroxes over here. I make copies of almost anything hand made that I have ever sent out so it is quite a pile. Maybe 4 or 5 feet tall. I also keep copies of letters I wrote on my computer on disc.

That brings us to the electronic side of things. I have been saving everything electronically since I got my computer in 87 or so. It is all on floppy discs and organized in some general categories but generally, this is also chaos. It needs to be looked at.

I do have some organization. There are files called Letters To People and most of the letters are there. There are lists of everything I ever sent out and to whom all in one folder. (also somewhere are similar lists scribbled down before I ever got the computer). Then there is Echo.

Ever since 1990 when I got on Echo, the BBS I use and where my Panscan is located, I have saved every piece of e mail I ever got. It is in hundreds of files downloaded into my computer. It is a mess. Perhaps a PANdora's box I will never open. I don't really care anymore but it may come in handy some day so I save them. Space is cheap on disc. I also have archives of things I've written on Echo's other conferences. Stuff about philosophy, love, being a man, psychology, culture, tv, movies etc. I save those and would like to use them some day to make a book or something.

All of it is semi-organized. None of it is organized to my satisfaction. I wish I had a lot of space and a lot of time and a lot of money

RJ: Well, time. In Computerland everything goes fast. Diskettes grow old and get useless (magnetic information doesn't lasts that long), the messages on INTERNET get distorted and aren't always as they originally were planned (The messages as you send them to me are accompanied by lots of strange and wonderful computer-poetry, but I select the ASCII I need for the interview only). The Gigabytes of info I myself have on diskettes will be useless if I don't make backups every few years and keep all the hardware I need for it. I am a bit pessimistic about archiving all the electronic information and therefore still prefer that paper. Electronic information for me is like electricity. It is useful, and it transforms in many forms. Guy Bleus has started his Electronic Archive. How should such an Electronic Archive look like?

Reply on : 8-4-1995 (Internet)

MB: It should look like this

(This is the complete file as it came in via internet. I only adjusted the layout a bit)

PANSCAN


Continue with Interview . . .


Mail-artist: Mark Bloch, PO Box 1500, NY, NY USA 10009

E-mail Mark Bloch

Interviewer: Ruud Janssen - TAM, P.O.Box 1055, 4801 BB Breda, NETHERLANDS

E-mail Ruud Janssen

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