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Copy Machine Manifestos: Artists Who Make Zines

Institution
Brooklyn Museum
Grant Cycle
Fall 2022
Amount
$100,000
Type of Grant
Exhibition Support
Website
www.brooklynmuseum.org/exhibitions/copy_machine_manifestos_artists_who_make_zines ↗
Mark Morrisroe (American,1959 – 1989) and Lynelle White. Dirt [Fifth Issue],1975/76. Xerox, 8.5 × 5.5 in (21.5 × 14 cm). © The Estate of Mark Morrisroe (EMM)
Joey Terrill (American, born 1955). Homeboy Beautiful , no. 1, 1978. Color and black - and - white photocopy, side stapled, 11 × 8 1/2 in. (27.9 × 21.6 cm). ONE Archives at the USC Libraries
Paul P. (Canadian, born 1977). Untitled , 2003. Pencil and colored pencil on paper, 8 1/2 × 11 in. (21.6 × 27.9 cm). The Museum of Modern Art, New York. The Judith Rothschild Foundation Contemporary Drawings Collection Gift. The Museum of Modern Art/Licensed by SCALA / Art Resource, New York
Cary Loren (American, born 1955), Editor. Destroy All Monsters Magazine , no. 1, 1976. Offset and photocopy, saddle stitched, 11 1/16 × 8 1/2 in. (28.1 ×21.6 cm). Collection Cary Loren. Photo: Brooklyn Museum, Jonathan Dorado
Bruce LaBruce (Canadian, born 1964), Editor. J.D.s , no. 8, 1991 (detail). Photocopy, saddle stitched, 8 ½ × 7 in. (21.6 × 17.8 cm). Collection Bruce LaBruce. Photo: David Vu
Robert Ford (American, 1961 – 1994). Thing , no. 4, Spring 1991. Offset, saddle stitched, color offset wrappers, 10 ⅝ × 7 ⅞ in. (27 × 20 cm). Collection Steve Lafreniere. Photo: Brooklyn Museum, Evan McKnight
Linda Simpson (a.k.a. Les Simpson) (American). My Comrade , no. 1, 1987. Photocopy, saddle stitched, 8 1/2 × 7 1⁄16 in. (21.6 × 17.9 cm). Collection Steve Lafreniere, Courtesy Arthur Fournier. Photo: Brooklyn Museum, Evan McKnight

Copy Machine Manifestos: Artists Who Make Zines is the first exhibition dedicated to the rich history of five decades of artists’ zines produced in North America. Since the 1970s, zines—short for “fanzines,” magazines, or self-published booklets of texts and images, usually made with a copy machine—have given a voice and visibility to many operating outside of mainstream culture. Artists have harnessed the medium’s essential role in communication and community building and used it to transform material and conceptual approaches to art making across all media. This canon-expanding exhibition documents zines’ relationship to various subcultures and avant-garde practices, from punk and street culture to conceptual, queer, and feminist art. It also examines zines’ intersections with other mediums, including collage, craft, film, drawing, painting, performance, photography, sculpture, and video. Featuring nearly one thousand zines and artworks by nearly one hundred artists, Copy Machine Manifestos demonstrates the importance of zines to artistic production and its reception across North America.

The exhibition is accompanied by the first comprehensive publication to explore artists’ zines, co-published with Phaidon Press, and including over 800 images of zines and works in other media alongside texts by the curators and specially commissioned essays by Gwen Allen, Julia Bryan-Wilson, Tavia Nyong’o, Alexis Salas, and Mimi Thi Nguyen, as well as an extensive section featuring biographies of all the artists represented in the project.

1999

Creative Capital’s mission is to fund artists in the creation of groundbreaking new work in the visual arts, performing arts, literature, film, technology, and multidisciplinary practices, including socially-engaged work in all forms

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