Posts Tagged ‘zines’
April 13, 2016 | by Dan Piepenbring
- Every April for years, intrepid editors have searched in vain for a way to fuse National Poetry Month to Mathematics Awareness Month, killing two birds with one stone. It turns out a pair of Italian mathematicians solved the problem centuries ago: “Niccolò Tartaglia (ca. 1500–1557) had discovered a way to solve certain kinds of cubic equations. Another mathematician, Girolamo Cardano (1501–1576), wanted to learn the formula and promised not to publish it. Tartaglia shared the formula with Cardano as a poem, and Cardano ended up publishing it.” Even with its terza-rima rhyme scheme, though, the poem is pretty bad, I’m sorry to report. It begins: “When the cube with the cose beside it / Equates itself to some other whole number, / Find two others, of which it is the difference. // Hereafter you will consider this customarily / That their product always will be equal / To the third of the cube of the cose net.”
- Legend tells of a radical library in Lawrence, Kansas—a library teeming with zines, a countercultural cornucopia, its shelves overflowing with DIY ephemera. And this library … is totally out of business. But the University of Kansas has acquired its holdings and plans to digitize all of them. “You can already explore over 830 digitized examples from the Solidarity archives in the Internet Archive … There are hand-illustrated guides to fertility awareness, freedom for Palestine publications, essays against prisons, Firefly fanzines, and more curious titles like ‘Don’t Leave Me: How to Make Better Coffee at Home and Spend More Time With Your Cat(s).’ ”
- Today in butterfly genitalia and literary luminaries: a new book examines Nabokov’s work as a lepidopterist, especially his “intensely magnified” drawings of butterflies’ reproductive organs. The book argues that Nabokov’s drawings provide a new lens through which to view his fiction—but maybe they’re just butterfly drawings. Laura Marsh writes, “The more we find out about Nabokov’s work as a lepidopterist, the more difficult it is to grasp what he saw in butterflies, and how much his study really found its way into the worlds of his books … As a lepidopterist, he was interested in stories that spanned vast, geological time periods, informed by fine-grained empirical observations. But in his novels and stories, butterflies flit in and out of the narrative, either to adorn a moment of impossible desire or as flickering omens of doom—as in the case of the red admiral that lands on John Shade’s arm before he is assassinated in Pale Fire. They are creatures of the ever-disappearing present, hardly existing for any concrete purpose at all; their wings bear the heavy load of subjectivity.”
- Writers, screenwriters, narrative artists of all stripes: if you’re still laying the foundation for your next project, I suggest throwing a kidnapping into the mix. People love kidnappings, especially when they involve young women. Add a seamy, irrepressibly erotic abduction to your plot and success will be yours for the taking. As Anna Leszkiewicz notes, “British and American pop culture has been gripped by the kidnap narrative. Young women stare desperately out of skylights or at heavy metal doors, before wrenching themselves through. Their kidnapper has methodically planned their captivity for years, making escape particularly difficult. They often exploit the mental weaknesses in their abusers in order to do so. They struggle to find a psychological liberty that matches their newfound physical freedom, and to detach themselves from the events of their captivity … The victim is always a young woman, usually adolescent either at the time of her capture, or during her captivity. She looks a specific way, too: a pretty brunette with big, round eyes; skinny when first captured, gaunt as her captivity develops; and despite the huge number of missing black girls and women, she’s white. She has all the physical attributes Hollywood and our wider society problematically conflate with innocence, purity and victimhood—and enthusiastically sexualize.”
- Jonathan Shaw owns the largest collection of vintage tattoo flashes in the world. Lucky for us, he’s put them in a book called, yes, Vintage Tattoo Flash. Behold the mess of cowboys, sailors, smoking skulls, neon dice, good-luck charms, babes, and babies that have made their way onto American bodies from Long Beach to the Bowery.
August 21, 2014 | by Dan Piepenbring
“Zines + the World of ABC No Rio,” an exhibition on display through September 27 at the Center for Book Arts, draws from the extensive zine library at ABC No Rio, a social center founded on the Lower East Side in 1980.
ABC No Rio is maybe best known for its punk and hardcore collective—until recently, they hosted matinee punk shows on Saturday afternoons, and these were originally curated with the intent of avoiding the violence, racism, and homophobia that had come to dominant punk as it was practiced up the road at CBGB. But ABC No Rio was conceived as an art space; it has a darkroom, a silk-screening collective, and—no mean thing, back in the day—a computer lab.
The zines on display at the Center for Book Arts span more than two decades, and speak to the curious diversity of the medium, to say nothing of its endurance. As the Center explains:
By its straddling the line between functional brochure and works of art realized in book form, the zine has retained its popularity even as the internet has largely become the preferred method of self-publishing … [a zine] is usually a cheaply-made and priced publication, often in black and white, mass-produced via a photocopier, and bound with staples. The exhibit presents and explains a range of these self-same printed materials, mixing both artists’ original creations with items from the ABC No Rio zine library archives, covering subject matter from arts-community history to political commentary.
Above are fourteen highly various examples—between them, they feature stray bullets, quests for enlightenment, impromptu jaunts to Chattanooga, mosh pits, camo jackets, Aladdin, “dumpster insurgence,” and more.
August 4, 2014 | by Dan Piepenbring
“Cats Hate Cops” is a tidy black-and-white pamphlet from Research & Destroy, a “radical zine collective” based in New York. Its title may seem, to the casual observer, like an editorial statement, but make no mistake: it’s a fact. The zine’s sixty-two pages comprise 150 years of cat-on-cop violence, all of it diligently chronicled by our nation’s newspapers—hard evidence, in other words. The first report is from 1805, when, in Edinburgh, a man attempting to police his dairy met with a cat bite on the neck; the latest is from the Melbourne Age, which last January ran a sidebar called “Anatomy of a Cat Attack.” (“Police close one lane and engage Scratchy, who resists.” Attaboy, Scratchy!)
Whether these are disconnected incidents or the enactment of a kind of feline political philosophy remains to be seen, but my money’s on the latter. It just makes sense. Cats and humans are coevolved; the Scratchys and Tigers of the world have had ample time to form opinions about authoritarianism and the police state. And think about it: Have you ever seen a cat driving a cruiser? Have you even once seen a cat with a badge? These animals want Friskies, not frisking.
Of course, the media tends to side with the state. “A mad cat upset the general routine of things last Friday morning at a grocery store,” reads a 1939 blurb, failing thereafter to give the cat’s point of view. Time and again, “Cats Hate Cops” describes a world in which the humane treatment of animals is not a going concern, and in which the police are generally assumed to be competent executors of the public will. The prose is often blunt: “After clubbing the animal into insensibility they shot it through the head,” one story ends.
July 30, 2013 | by Lisa Darms
A few years ago, I started a collection at NYU’s Fales Library & Special Collections to document the feminist Riot Grrrl movement in its formative and most active years, from 1989 to 1997. Originally a reaction against the failures of punk to extend its DIY model of empowerment to women, Riot Grrrl encouraged young women to form their own bands, self-publish personal stories and revolutionary agendas in zines, and carve out safe spaces in a violent, misogynist culture. Riot Grrrl was not a centralized movement, and many of the donors to the collection never called themselves “riot grrrls.” I never did, even though I went to the shows, read the zines, and identified as a punk and a feminist. Looking back, I see Riot Grrrl as descriptive of a moment as much as a movement: one that many young people now seem to want to study, learn from, and revivify. This summer, the Feminist Press published The Riot Grrrl Collection, my book of almost 350 pages of selections from the collection. Below are a few of my favorites.
This flyer, a pre–Riot Grrrl “manifesto” that was later repurposed for the minizine Riot Grrrl, is the first image in the book. Kathleen told me she made it in 1989, when she was volunteering at Safeplace, Olympia’s long-lived domestic-violence shelter and advocacy organization. Designed so that it could be folded up into a small rectangle with the word trust on top, this flyer was both a secret invitation and a public announcement, much like Riot Grrrl itself. Read More »
October 10, 2011 | by David O'Neill
Johanna Fateman began her 1997 fanzine, Artaud-Mania, by professing, “Dear Diary, I am writing to you because confessional writing is the self-effacing form most suited to the abject position of the fan.” Until then, the twenty-two-year-old Fateman hadn’t confessed much in her work; her earlier zines (including the series Snarla, cowritten in the early nineties with fellow high school misfit Miranda July) never had the insular or solipsistic feel typical of many of that era’s photocopied missives. What’s more, the syphilitic and schizophrenic Artaud, an enfant terrible of French arts and letters, was an unlikely idol for the feminist punk scene that Fateman had been a part of and was reacting against—post–Riot Grrrl publications that rarely ventured beyond subjects like the DIY music scene, grassroots organizing, and personal politics. Her appreciation for Artaud came through artists and writers like Nancy Spero and Kathy Acker. Like them, she was inspired by his fierce articulation of what Spero once termed a “sense of victimhood”; Fateman put it more bluntly when she wrote approvingly that Artaud was a “crazy bitch with male authority.”
November 23, 2010 | by Dan Nadel
Woke up in Providence, Rhode Island, but as I write this I’m zooming back to NYC on the Amtrak listening to an exquisite bootleg of Neil Young and Crazy Horse at Budokan, in Tokyo, on March 11, 1976. I arrived in Providence less than twenty-four hours ago for the local launch of Brian Chippendale and C.F.’s (a.k.a. Christopher Forgues) new books If ‘n Oof and Powr Mastrs 3 (both published by my own PictureBox) at Ada Books. The Ada event was packed and quite merry. I bought used copies of Jimmy McDonough’s Russ Meyer biography and Red Harvest by Dashiell Hammett.
McDonough’s biography of Neil Young, Shakey, is one of my favorite books, and so while I have little interest in Meyer, I figure I better read whatever is on McDonough’s mind. Shakey, for the uninitiated, is about as good a book about an artist as can be imagined. There’s Nick Tosches’s Hellfire, about Jerry Lee Lewis; Lawrence Weschler’s Robert Irwin–obsessed Seeing Is Forgetting the Name of the Thing One Sees; and Geoff Dyer’s Out of Sheer Rage on D. H. Lawrence. And there are more. But Shakey is the most important to me because it is as much about the field of humans and emotions around an artist as it is about Young, and this includes the author himself, who is conflicted and outraged as he tries to deal with Young on an aesthetic, intellectual, and moral (this last bit being the trickiest) level. McDonough wanted too much from his idol/subject, but in a way that is perfectly understandable. The problem, as Christopher would say, is that sometimes you have to turn your back on your life in order to make art. That doesn’t always make for nice human moments.
In any case, Shakey beats the hell out of the recent Keith Richards autobio, which is fucking brutal. I’m amazed he published it. Usually with these kinds of books, there’s some kind of arc to it, some realization or redemption after all the action. Not here. It’s mostly unremitting destruction: of himself, of the people around him, of his talent. It is, as Keith might say, a fucking bummer, man. At least Richards doesn’t really pretend there is romance there. But the level of unself-consciousness reaches staggering levels. What Richards leaves out (apologies, regrets, sadness) is as telling as what he leaves in (blow jobs, heroin, death). Then again, the descriptions of music-making are top notch and moving, in the sense that if you believe him, you believe this beast sometimes finds grace in open-tuned guitars and groovy chord sequences. But he’s a beast nonetheless.