Public Collectors is a self-proclaimed paper blog, as well as a website and Tumblr feed, that seeks to archive and make freely available material that may have no other venue: lists, conversations, collages, notes, fliers, temporary tattoos, classified ads, etc. “Public Collectors” is library, museum, zine, reference center, and studio simultaneously (and probably – necessarily – it is more then that as well).
I may have been largely attracted by the gold sparkly cover when I picked up a copy of “Public Collectors” at Zine Fest a few weeks ago. The glittery paper is wonderfully complemented by the diagram of a fragmented and grimacing human face – shown both frontally and in profile, and topped by the caption “FEELING AND EMOTION IN EVERYDAY LIFE” (the image is scanned from “Psychology: The Fundamentals of Human Adjustment,” published 1946).
A disparate and well curated collection of images and ephemera, it includes such gems as a handmade flier for a lost hat, and a photo of a sign featuring an image of the drag queen Divine.
The project is run by Marc Fischer of Temporary Services. The material included is gleaned from Fischer’s own collections, but also is donated for public accessibility. The website version of “Public Collectors” is an amazing reference for – well, probably things that you didn’t know you had to be referred to yet but maybe, somehow, you always wanted to be. It has links to a woman’s blog on which she has posted PDFs of all her notes from college, a link to a fantastic video of Danzig discussing his book collection, a link to photos someone posted somewhere on the internet of the inside of their mother’s house (she’s a hoarder). There is a list of links to web documented collections, including cigarette lighters, “do not disturb” signs, hip hop party fliers, the sound of cats purring (a personal favorite of mine), pictures of celebrities playing tennis, and creatively designed periodic tables. The world is a wonderful place.
I don’t know what Fischer’s curatorial restraints are – perhaps it’s purely intuitive – but the general trend is towards subcultural ephemera, such as the poster for an Alice Cooper tribute band or the page from “New Dominant,” a British publication of dominatrix classifieds.
What strikes me most about “Public Collectors” is the nurturing formation of alternative collections – collections based on, formed and informed by a unique and maybe not coherently logical set of interests or constraints. I don’t know if I entirely agree with Fischer’s assertion in his curatorial statement that the material in “Public Collectors” is passed over by libraries and museums. I myself work in a library where one of my responsibilities is to file additions to our collection of ephemera related to the history of printing. This includes finely printed broadsides and prospectuses, but also just a lot of what would generally be classified as junk mail. Additionally, several collections from CPLs Harold Washington Library are referenced; the cover of the collection of non-musical recordings in included in the issue I own.
Also, an interview with the former curator of Harold Washington’s picture collection is included on the website in a download-able PDF booklet.
I think more to the point is the culling of these materials from their disparate locales into new aggregate collections. It is this method of collecting – both a relic of the victorian era and/or a focused re-interpretation of the image overload received daily from the internet and digital media – that is not fostered by many institutions. It is D.I.Y. collecting at it’s finest and most articulate. In scanning these images and re-blogging them, I guess I am adding “Public Collectors” to my own collection, and to the collection that is Bad at Sports.
Bailey Romaine is a printmaker and bibliophile (and maybe a collector of sorts) currently living in Chicago.