Summer Bloggin’ Day 14: On Zines


Your friend LP

July is, as always, International Zine Month, which has an awesome calendar with things to do for each day. One day, I will do all the things on that list, but not this year: I am prioritising actually WRITING a zine (or two). It’s been so long since my last zine that I almost feel like I can’t claim being a zinester anymore.

Things I will be doing is catch up on the zine world: I am also completely out of the loop regarding zines that have come out and/or that are a must read, even from my favorite zinesters. I will also be going through my zine collection and see if there are zines I am ready to part with, and find a new home for them. It just feels like a waste to have zines locked up in a box where they could be in a zine library…

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Public Illumination Magazine


Contemporaneous Extension

Text by Elegance Fountains, image by M. Le Fuc. From "Virulence," issue 2, January 1980. Public Illumination Magazine, published at 230 Grand Street 10013 . Text by Elegance Fountains, image by M. Le Fuc. From “Virulence,” issue 2, January 1980. Public Illumination Magazine, published at 230 Grand Street 10013 .

Below is a brief interview with Professor Dr. Dr. Zagreus Bowery, editor of Public Illumination Magazine (PIM) conducted via email.
Q: How did you organize the zines? Seeing as you had an open call but many return writers, how did you fit it all in? 
A: A ruthless red pen and an editor’s sensibility.

Q: What’d you do with the content you turned down?
A: Regret that it didn’t fit.

Q: Are contributors international, or from a particular region?
A: Mostly US, some Italy.

Q: What inspired the beginning of this zine?
A: Collaboration with other artists.

Text by Jersey Plates. Illustration at top by M. Le Fuc; photograph by Rectal Picture Serv. From "Mass Transit," issue 3, February 1980. Public Illumination Magazine, printed at 230 Grand Street 10013. Text by Jersey Plates. Illustration at top by M. Le Fuc; photograph by Rectal Picture Serv. From “Mass Transit,” issue 3, February 1980. Public Illumination Magazine

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After Little Rock Zine Nite


Mini Comix Co-Op

Little Rock Zine Nite Little Rock Zine Nite

I had a great time at the Little Rock Zine Nite. Met some great creators and had some interest drawn towards the Co-Op. Sold out of my own books and sold some of these monster boxes I made for the show. The creators I met seemed interested in the Co-op but there were selling their books that night and told me they’d reach out to me when they had more copies of their books printed. There weren’t a lot of comix there, but there were enough to make it noticeable.

DKD #7 - Dan Huff DKD #7 – Dan Huff

We did get a contribution by Dan Huff. His book DKD #7 is a book full of his illustrations. It’s huge and compact, he put a lot of pages in this book and he gave us 10 copies of it! It’s definitely going to be one of the books I give out…

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Making the Urban Scene: The Arts


Nose Garage

We will always need an artistic avant garde. No other group in our communities has the self-confidence to challenge that accept canons of taste and revitalize the production of expressive objects and performances. The avant garde was first identified as early as 1825 by Olinde Rodrigues who called upon the artists to “serve as [the people’s] avant-garde”, insisting that “the power of the arts is indeed the most immediate and fastest way” to social, political and economic reform [Matei Calinescu, 1987. The Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism. Duke University Press]. The last two hundred years has shown that technology is a much more effective reformer than art. Think about the differing impacts of the airplane, the birth control pill, or the computer, compared to the works of Martha Graham, Antonine Artaud, or Andy Warhol. It pains me to say so, but social, political and economic…

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IVAN ČKONJEVIĆ – Pastel (2013)


Make Your Own Taste

PastelHere is a submission that proves not only that the musical avant-garde is alive and well, but that the mine of contemporary “free” music is so rich, it’s astonishing what you can find if you’re willing to dig. I point out the latter because I’m reminded of a recent discussion with a colleague, in which we noted that it seems most of the current free music touted as “experimental” seems to be made by people who don’t actually know how to make music in the traditional sense; just about anyone with Pro Tools or Logic software can throw together some scratchy sounds and bleeps and bloops and release it as a “noise” album. God, there’s a lot of that about, and you can’t tell most of it apart. Anyway, our griping was probably just mean-spirited, I suppose. Some of this music is done very well, and I myself make lots…

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