Friday, June 22, 2007
post mortem
The end of my day at AMC and I am seriously exhillahrated, the zine caucus is over and I believe it went well. Todays events have renewed my hopes, vision, and feeling that I cand have an impact. In workshops I learned about videoblogging, video montage, and ways that organizaitons are using new media technologies in education. At the zine caucus, we actually had a pretty good turn out and a great if not all over the place discussion about the place of zines in the alternative media world, the place of zines in libraries, the place of infoshops and zinesters in the alternative media movement and all random rambling that fall in between...it was a pie in the sky hour really...topped by the fact that I got to meet and chat it up with Julie Herada, curator of the Labadie collection at The University of Michigan. A group of really great young twenty somethings attended that are starting their own local politics zine and I met a librarian from Detroit who was part of an info shop here that crumbled due to some interesting powerstruggles...I spend most of my time isolated from peers that share any of my interests and find myself locked to the internet for support and information concerning the zine community, alternative media librarianship, and people who understand how important libraries can be in our society. My experience at the AMC has been...moving, challanging, and so deeply satifying.
Tuesday, June 19, 2007
Allied Media Conference
Zine Librarians Caucus
Facilitated and Presented by Virginia Allison and Julie Herrada
This caucus for zine librarians (in the broadest sense of the term) is a place to meet up and share resources, best practices, and zines!
This caucus meeting will take place on Friday, June 22, 8PM, off-campus at Beans & Bytes cafe, 4200 Woodward Ave. at Willis.
Directions:
( about 4 mins, 1.3 mi) From Wayne State University:
1. Head South on Exit 215A toward John C Lodgy Fwy/M 10 S 0.2 mi
2. Merge onto John C Lodge Fwy/M-10 S 0.2 mi
3. Take exit 3 toward Warren Ave/Forest Ave 0.1 mi
4. Merge onto John C Lodge Fwy 171 ft
5. Turn left at Forest Ave W 0.5 mi
6. Turn rith at M-1/Woodward Ave 0.2 mi
Facilitated and Presented by Virginia Allison and Julie Herrada
This caucus for zine librarians (in the broadest sense of the term) is a place to meet up and share resources, best practices, and zines!
This caucus meeting will take place on Friday, June 22, 8PM, off-campus at Beans & Bytes cafe, 4200 Woodward Ave. at Willis.
Directions:
( about 4 mins, 1.3 mi) From Wayne State University:
1. Head South on Exit 215A toward John C Lodgy Fwy/M 10 S 0.2 mi
2. Merge onto John C Lodge Fwy/M-10 S 0.2 mi
3. Take exit 3 toward Warren Ave/Forest Ave 0.1 mi
4. Merge onto John C Lodge Fwy 171 ft
5. Turn left at Forest Ave W 0.5 mi
6. Turn rith at M-1/Woodward Ave 0.2 mi
Monday, June 18, 2007
PROGRESSIVE LIBRARY JOURNALS
Reposted from Librarian Activist Website: www.LibrarianActivist.org
These links lead to journals or magazines that offer alternative views of librarianship. There is a strong emphasis on independent thought and critical perspectives.
Counterpoise:"A quarterly review journal that makes independent points of view widely accessible to librarians, scholars and activists." They publish articles, reviews, bibliographic tools for the alternative press, and indexes.
Progressive Librarian:"A forum for critical perspectives in Librarianship, featuring articles, book reviews, bibliographies, reports and documents that explore progressive perspectives on librarianship and information issues." Many full text articles available online.
Library Juice:"A biweekly online magazine for librarians, library and information science students, and other interested people. It includes discussions, commentary, announcements, humor, web links and news affecting the library world."
Information for Social Change:An activist organisation "that examines issues of censorship, freedom and ethics amongst library and information workers." It publishes its journal twice a year and all of it is online.
Hermès:A bilingual e-journal (french and english), with the objective to publish a series of critical texts on the information society, media and society as a whole.
These links lead to journals or magazines that offer alternative views of librarianship. There is a strong emphasis on independent thought and critical perspectives.
Counterpoise:"A quarterly review journal that makes independent points of view widely accessible to librarians, scholars and activists." They publish articles, reviews, bibliographic tools for the alternative press, and indexes.
Progressive Librarian:"A forum for critical perspectives in Librarianship, featuring articles, book reviews, bibliographies, reports and documents that explore progressive perspectives on librarianship and information issues." Many full text articles available online.
Library Juice:"A biweekly online magazine for librarians, library and information science students, and other interested people. It includes discussions, commentary, announcements, humor, web links and news affecting the library world."
Information for Social Change:An activist organisation "that examines issues of censorship, freedom and ethics amongst library and information workers." It publishes its journal twice a year and all of it is online.
Hermès:A bilingual e-journal (french and english), with the objective to publish a series of critical texts on the information society, media and society as a whole.
Monday, June 11, 2007
Ode to Microcosm
Just wanted to re-state that Microcosm is a fantastic venue in terms of working with libraries. For those libraries who are just starting, they offer a very nice donation package of zines with your first order. Also, they sent me two coveted (no one who has them here will give them up!) zines created by former Watkins College of Art&and Design student Shaun Silfter and former Austin Peay State student Ally Syan:
Ross Winn: Digging Up A Tennessee Anarchist by Shaun Slifer
An unearthing of Ross Winn, an anarchist from Texas and Tennessee in the late 19th century who printed a series of newspapers, most notably Ross Winn's Firebrand and corresponded with Emma Goldman. Shaun and company seek out his history and find a good deal of it in the process. We get to learn about their trip to Ross' grave, his upbringing, and friction from his partner's family, his conservative environment, and his own family (thanks to McKinley's assassination, supposedly inspired by anarchists.) As anyone who knows me can testify this is exactly the kind of zine I eat up, and this one is no exception. I respect the dedication with which the information was persued and the result is impressive. Additional artwork by Erik Ruin.
(review from micrcosm website)
and
Another Chance: A Zine About Bioremediation by Ally Reeves
Bioremediation? No, it's not just another "Antidisestablishmentarianism." It's actually the process of using plants to detoxify soil. This zine provides an intro to the history and the concepts involved, plus has an interview with an urban farm in Pittsburgh, relevant book reviews, and neat prints of helpful plants. Most DIY environmental focus today is on the prevention of further waste, not on cleaning up the mess we already have. And the solutions we're given are frustrating with few tangible results. That's what's so neat about bioremediation -- It's something small and proactive with a big impact! Plus, this cover of this zine is gorgeous!
(review from Micrososm website)
I am so glad to have these in our collection. Thank you Microcosm!
Ross Winn: Digging Up A Tennessee Anarchist by Shaun Slifer
An unearthing of Ross Winn, an anarchist from Texas and Tennessee in the late 19th century who printed a series of newspapers, most notably Ross Winn's Firebrand and corresponded with Emma Goldman. Shaun and company seek out his history and find a good deal of it in the process. We get to learn about their trip to Ross' grave, his upbringing, and friction from his partner's family, his conservative environment, and his own family (thanks to McKinley's assassination, supposedly inspired by anarchists.) As anyone who knows me can testify this is exactly the kind of zine I eat up, and this one is no exception. I respect the dedication with which the information was persued and the result is impressive. Additional artwork by Erik Ruin.
(review from micrcosm website)
and
Another Chance: A Zine About Bioremediation by Ally Reeves
Bioremediation? No, it's not just another "Antidisestablishmentarianism." It's actually the process of using plants to detoxify soil. This zine provides an intro to the history and the concepts involved, plus has an interview with an urban farm in Pittsburgh, relevant book reviews, and neat prints of helpful plants. Most DIY environmental focus today is on the prevention of further waste, not on cleaning up the mess we already have. And the solutions we're given are frustrating with few tangible results. That's what's so neat about bioremediation -- It's something small and proactive with a big impact! Plus, this cover of this zine is gorgeous!
(review from Micrososm website)
I am so glad to have these in our collection. Thank you Microcosm!
Thursday, June 7, 2007
A-Z Guide to Self-Published Media
The following is a conglomeration of research, edited and published as an A-Z Guide to Alternative Publishing (zine format). This zine will serve as an instructional resource for our zine collection. I first presented this information as a guest speaker for Robin Paris's Book Arts class. The class was enthusiastic about zines and learning about the history of alternative media. The next day Jerianne from Zine World brought in some interestingly designed zines and answered questions- and continued the conversation about zine culture. After her lecture the class memebers each created a zine for our collection...good times!
A: Alternative Media
Today’s alternative media include newspapers and magazines, zines, e-zines, small press publications, chapbooks, pamphlets, independent film and video, community access cable, web logs, web sites, and comics. Regardless of the medium employed, alternative media share several characteristics (Armstrong, 6).
A publisher is thought to be alternative if it meets at least one of the following:
1. The publisher has to be non-commercial, demonstrating that a basic concern for ideas, not the concern for profit, is the motivation for publication.
2. The subject matter of their publications should focus on social responsibility or creative expression, or a combination of both
3. Finally, it is enough for publishers to define themselves as alternative publishers (Alternatives in Print, 1989: vii)
• “Printing of publications outside of official commercial channels has been a phenomenon virtually since the advent of the printing press (Herrada, 79).”
• “Alternative literature has the capacity to inform, educate and set the record straight on all manner of topics, and frequently does. (1.Atton, 23).”
B: Binding Options
• Self-published printed works encompass a variety of materials and are bound in several different manners.
• Projects can be low production quality to high production quality, works might be printed on a Xerox machine and stapled, printed on a letter-press printer and hand stitched, sent off to a commercial printer and bound professionally, or produced and distributed though any number of technologies and networks.
• Self-published materials follow no set of standards, there are no rules, and therefore the quality and variety of self-published materials which circulate throughout alternative media networks are vast.
C: Thomas Paine’s “Common Sense”
• Thomas Paine was a journalist in the new American colonies; in 1776 he independently published a pamphlet, “Common Sense”.
• Paine’s pamphlet had tremendous social impact and helped ignite the American Revolution. His work is a symbol of what self-produced print media can do to spark social change; he is therefore known in the alternative press as the “Father of Alternative Media (Armstrong, 5).”
D: Dada Journals 1915-1921
• The Dadaist formed around a group of intellectuals in war neutral Zurich, 1915
• They opposed established bourgeois art and culture, which they regarded as symptomatic of a culture about to crumble with the First World War (Ball, 18).
• The group independently published journals to spread their anti-art program internationally.
• Dada journals conveyed Dadaist principles and activities through experimental language, text, performance and images.
• Consequently, the Dada movement is credited with creating several innovations in typography, language, film, and collage.
• Dadaism exploited the journal medium as a transportable, mass media site to form an alternative type of community. The Dada community was connected by their publications, which circulated internationally. (Hage, 2).
E: E-Zine
• An e-zine is simply an electronically published zine, usually ezines take the form of a serial newsletter.
• An e-zine could be distributed via e-mail as a word document attachment, as a PDF document, or as a Webpage.
• E-zine communities with common interests and affiliations network online, rather than through the postal service.
• For a comprehensive look at e-zines check out John Labowitz’s archive of web-based e-zines at http://www.e-zine-list.com/
F: Fanzine
• The science fiction magazine subculture of the 1930’s and 1940’s coined the term “fanzine” from which the more contemporary label of “zine” evolved.
• Science fiction fans circulated independently published magazines via snail mail around the globe.
• Fan fiction generally includes characteristics of original science fiction works written by fans, rather than the original work’s creators.
• Matt Gunderloy created a fanzine directory tilted “Factsheet5” which listed and reviewed fanzines. This directory created a centralized fanzine publishing community which spawned zine writings on topics beyond fan fiction, thus giving birth to the all encompassing “zine” culture.
G: Gallery-Like
• “Editors of zines act like curators, compiling the works and writings of people whose output excites them, and showcasing them within the pages of their publications (Gonulu, 1).”
• “Because the contributors of these zines have, in most cases, full control of the presentation of their works on the page, the context of the zine offers a more immediate and unmediated presentation of their thoughts and intentions than may be found in more mass marketed media formats (Golonu, 1).”
H: How-To Self-Publish
• DIY (do it yourself)
• Get informed: read up on what others have done, consult zine and book-making websites and books
• Wanna make a zine?
Read Matt Stovall’s “A Student’s Guide on What a Zine is and tips on how to make on Version 2.0” available at www.altgeek.net/voices/student_guide.htm
• Wanna make a comic? Start here: http://www.artbabe.com/comicsandart/diy/diy_make.html
and here: http://www.comicsreporter.com/index.php/all_about_comics/all_about/77/
• Wanna start a zine collection in your library? Check out the article “How to Start a Zine Library in Ten Easy Steps” by Miriam DesHarnais at http://www.leekinginc.com/xeroxdebt/xd18.htm
I: Information Dissemination
• “The present number of corporations controlling America’s media has dropped from fifty in 1993 to just five in 2004. The Supreme Court considers first amendment rights to belong solely to those American citizens who own the Media (Johnson, 15).”
• Alternative literature provides alternate paths for media and information to circulate, in spite of media conglomeration.
J: Journalism
• “In the case of ephemeral artistic practices such as performance or more idea-based projects, printed publications can also act as documentation of fleeting events and specific cultural moments witnessed by only a small group of people at a given moment (Golonu, 2).”
K: Kinetics
• “Zine making has provided an effective way of sharing ideas with networks of friends, colleagues, and collaborators (Golonu, 1).”
• “With the help of the postal service, artists and writers have overcome geographic breaches and disseminate their ideas, artworks and collaged graphics to expanding networks of attentive individuals and communities (Golonu, 2).”
L: Library
• “As popular library materials and library media becomes more homogenous, librarians are looking to zines as a powerful printed medium that could help balance the skewed ‘spectrum of thought’ that has threatened the democratic nature of materials collected in libraries (Zobel,1).”
• Three functions of an alternative media library collection:
1. To serve as local history, community news, and networking
2. To supplement subject collections
3. To serve as a primary source for popular culture research (Zobel, 3).
M: Mail and Correspondence Art 1970-1980
• Mail art came into vogue in the early seventies. Mail artists used the postal system as a forum for spreading art and developing communities of ideas without exchanging money.
• “An important goal in mail art was to participate in art commerce-free; mail art attempted to bypass galleries and elitism. They exchanged ephemera in the form of illustrated letters, newsletters, zines, decorated envelopes, postcards, and mail interviews (Perkins, zinebook.com).”
N: Networks
• Alternative Media in the United States has and will survive through communication networks. Alternative media networking has typically occurred through the post office, and now, the internet. These systems keep sub culture social/ political groups in contact. Small networks which disseminate alternative media influence our culture at large.
• “The use of the World Wide Web has created farther stretching networks of people working within the same medium as well as providing publishers a virtual retail area, increasing reader access to remote locations and allowing more people to see content than the self publisher could afford to non-virtually print (Stoval, 2).”
O: Oddities
• Self-published items fall under a very large scope of media from simple pamphlets to elaborate works of art. Because alternative publications are not mass produced for a profit, they take creative advantage to include oddities within their format as well as their content. Alternative publications range in size and shape and might be printed on recycled or non-traditional materials rather than paper. Oddities included within these publications might be stickers, photographs, gum, book marks, press on tattoos…you name it.
P: Punk
• The punk subculture of the 1980’s created a thriving underground press; spawning journalists and critics within the Punk scene itself. Punk zines were compiled with collage and Xeroxes, the zine culture surpassed the punk scene and entered into high visibility in the 1990’s (Wright, 30).
Q: Quick, Speedy, Presto!
• One of the foremost products of alternative literature are zines, this is because the zine format provides endless room for creativity and is relatively easy to make and circulate on a small budget.
• “Anyone with access to a photo copier can be a writer, publisher, and printer. The quickest method for getting an idea printed is to self-publish, (Stovall, 1).”
• Zines are typically photocopied; however, some choose to utilize other technologies such as offset printing methods, digital photography, silkscreen, and lithography. The content of zines could generally fit into the following categories: creative writing, comics, personal writings, fan based writings, science fiction, literature, art, music, reviews (Stoval, 4).
R: Responsibility
• Alternative literature is part of an open publishing system that allows for a freedom not permitted in mainstream media, as commercial success is not the primary goal of most alternative media output.
• There are times when inaccurate or slanderous materials are circulated, thus independent media has credibility problems. Therefore, publish responsibly.
S: Small Press
• Small Press publications are those that are published independently of large multinational corporations.
• Many small presses focus on a specific genre such as fiction, poetry, limited edition journals and books, chapbooks, or art books.
• Small presses tend to fill the niches that larger publishers neglect; their profit margins are significantly lower than large publishers.
• Small presses tend to have motives beyond profit such as disseminating literature with appeal to a small market, often their goal is to break even (Herman, 131).
• Small Press Resources:
o Small Press Distribution Website
http://www.spdbooks.org/
o The Small Press Exchange
http://www.smallpressexchange.com/
o Small Press News Room
http://smallpressnewsroom.blogspot.com/
T: Traditional Comics vs Underground Comix
• During the Cold War era and post war climate, a scapegoat mentality gained prevalence in the US, comics were increasingly blamed for the increase in juvenile delinquency.
• This anti-comic sentiment manifested itself in the form of inflammatory articles in magazines and newspapers, community meetings, and even occasional book burnings (Hatfield, 11).
• In order to save them selves, the comic book industry formed the Comics Code Authority in 1954 to review the editorial content of comic books.
• The comics industry wanted to ensure consumers that their comics abide by the provisions of the Comics Code, and were thereby safe to purchase. The Comics Code authority self-proclaimed themselves as the “most stringent code in existence for any communications media (Hatfield,11)”
• The final effect of the Comics code was to force comic books to “depict a world that was a denatured view of American social reality. (Witek, 51).”
• The sixties movement saw the rise of independent comic presses and publishing houses that delved into issues of sex, drugs, and rocking roll disregarding the comics code, they were labeled comix (Hatfield, 13).
• These alternative comics became the voice of popular culture identity in post war America.
• “Comix writers created works in the sequential art medium of unparalleled vigor, virtuosity, and spontaneity-after the underground comics, the Comics Code would never be the same (Witek, 51).”
U: Underground Media in the 1960’s
• The New American Poetry, 1945-1960 Anthology was published in 1960 by Donald M. Allen and Grove press. This historical publication was prophetic in its inclusion of young marginalized writers. For the first time, popular culture literature pushed forward through
(what appeared to be) a stale state of literature for the times.
• Until Allen’s publication, mainstream presses were largely ignoring talented discursive young writers in the United States. However, young writers had managed to create a thriving world of avant-garde literature through navigating publications on the small press circuit.
• “Of necessity, these writers invented their own communities and audiences with a small press or little magazine often serving as the nucleus of both (Clay, 13).” These writers created a fringe community sharing their writings on mailing lists “produced for a community of kindred spirits as a literary newsletter-a quick way to get work out.” The 1960’s underground publications were also venues whereby artists could explore and experiment with language much like the Dadaist in their small press publications.
V: Visionary
• Because of their grass roots organization, underground publications are often the first format to circulate new ideas and news into the public forum (Armstrong, 2).
W: Where can you find Self-Published Media?
• Most self published materials are not found through Amazon.com, so where do you find them? The following publications are a good start, these zine review zines review zines and alternative media:
• Zine World http://www.undergroundpress.org/
• Best Zine Ever http://www.tugboatpress.com/
• Broken Pencil http://www.brokenpencil.com/
• Xerography Debt www.leekinginc.com/xeroxdebt
• Self-published media can also be found in non-traditional bookstores, and “distros” or distribution centers. Here are a few places to start:
• Parcel Press http://www.parcellpress.com/shopfront/zineshop.htm
• Fall of Autumn http://www.fallofautumn.com/
• Microcosm http://www.microcosmpublishing.com/
• Atomic Books: http://www.atomicbooks.com/
• Quimby’s http://www.quimbys.com/
• Printed Matter http://printedmatter.org/
X: Xeinal guidence
• ZineWiki.com is an open-source encyclopedia devoted to zines and independent media. It covers the history, production, distribution and culture of the small press.
• Add your project, contribute additional information to already existing pages, or to edit what’s already published. Subjects should be explained in terms of their relevance to zines and independent media. ZineWiki was created by Alan Lastufka and Kate Sandler in June 2006.
Y: Yahoo Groups
• Zine Geeks: http://groups.yahoo.com/group/zinegeeks/
• Zinesters: http://groups.yahoo.com/group/zinesters/
Z: Zines and Zinesters
Zines are:
• Small handmade publication done purely out of passion, rarely making a profit or breaking even. Self-edited, self-financed, self-published serials.
• Topics, positions, and expressions are usually outside the “mainstream”.
• Usually edited and published by one or two persons independently and are usually produced using desktop publishing and photocopiers.
• Those who create zines are referred to as “zinesters”
A-Z Bibliography
Alternatives in Print: an International Catalog of Books, Pamphlets, Periodicals, and Audiovisual Materials. Compiled by the Task Force on Alternatives in Print, Social Responsibilities round Table, American Library Assosiation, 6th edn, NewYork, NY: Neal-Shuman and London: Mansell 1980.
Armstrong, David. A Trumpet to Arms: Alternative Media in America Boston: South End Pressk, 1881
Atton, Chris. Alternative Media. Sage Publications, 2001.
Ball, Hugo. Flight Out of Time. The Viking Press: New York, 1974.
Foster, Stephen C. Dada/Dimensions. UMI Research Press: Ann Arbor, Michigan. 1985.
Chepesiuk, Ron. “Libraries Preserve the Latest Trends in Publishing.” American Libraries. February 1997.
Clay, Steve and Rodney Phillips. A Secret Location on the Lower East Side. NY: Granary Books, 1998.
Golonu, Berlin. “They Look Good on Paper” Printed Matter, Inc, 2007.
Hatfield, Charles. Alternative Comics: An Emerging Literature. University Press of Mississippi: Jackson, 2005.
Herman, Jeff. Jeff Herman’s Guide To Book Publishers, Editors & Literary Agents. Stockbridge, MA: Three Dog Press, 2006
Herrada, Julie and Billie Aul. Zines in Libraries: A Culture Preserved. Serials Review; Summer 95, Vol. 21 Issue 2, p. 79
Hage, Emily. New York and European Dada Art Journals, 1916-1926: International Venus of Exchange. Dissertation under Christine Poggi, Associate Professor, University of Iowa.
Hsu, Hua. “File Under Other…” The Boston Globe. May 6, 2007.
http://www.boston.com/news/globe/ideas/articles/2007/05/06/file_under_other/
Johnson, Nicholas and Nancy Kranich. “Take this Media…Please!” The Nation, January
7, 2002. http://www.thenation.com/doc/20020107/replies
John Labowitz’s archive of web-based e-zines: http://www.e-zine-list.com/
Perkins. Stephen “Mail Art and Networking Magazines, 1970-1980” The Zine and
E-Zine Resource Guide http://www.zinebook.com/resource/perkins/perkins8.html
Stovall, Matt. “A Students Guide on What a Zine is and Tips on How to make One Version 2.0” http://www.altgeek.net/voices/student_guide.htm
The University of Iowa’s International Dada Digital Library: http://sdrc.lib.uiowa.edu/dada/collection.htm
Witek, Joseph. Comic Books as History. University Press of Missippi: Jackson, 1989.
Wright, Fred. From Zines to Ezines: Electronic Publishing and the Literary Underground. Dissertation. Kent State, 2001.
A: Alternative Media
Today’s alternative media include newspapers and magazines, zines, e-zines, small press publications, chapbooks, pamphlets, independent film and video, community access cable, web logs, web sites, and comics. Regardless of the medium employed, alternative media share several characteristics (Armstrong, 6).
A publisher is thought to be alternative if it meets at least one of the following:
1. The publisher has to be non-commercial, demonstrating that a basic concern for ideas, not the concern for profit, is the motivation for publication.
2. The subject matter of their publications should focus on social responsibility or creative expression, or a combination of both
3. Finally, it is enough for publishers to define themselves as alternative publishers (Alternatives in Print, 1989: vii)
• “Printing of publications outside of official commercial channels has been a phenomenon virtually since the advent of the printing press (Herrada, 79).”
• “Alternative literature has the capacity to inform, educate and set the record straight on all manner of topics, and frequently does. (1.Atton, 23).”
B: Binding Options
• Self-published printed works encompass a variety of materials and are bound in several different manners.
• Projects can be low production quality to high production quality, works might be printed on a Xerox machine and stapled, printed on a letter-press printer and hand stitched, sent off to a commercial printer and bound professionally, or produced and distributed though any number of technologies and networks.
• Self-published materials follow no set of standards, there are no rules, and therefore the quality and variety of self-published materials which circulate throughout alternative media networks are vast.
C: Thomas Paine’s “Common Sense”
• Thomas Paine was a journalist in the new American colonies; in 1776 he independently published a pamphlet, “Common Sense”.
• Paine’s pamphlet had tremendous social impact and helped ignite the American Revolution. His work is a symbol of what self-produced print media can do to spark social change; he is therefore known in the alternative press as the “Father of Alternative Media (Armstrong, 5).”
D: Dada Journals 1915-1921
• The Dadaist formed around a group of intellectuals in war neutral Zurich, 1915
• They opposed established bourgeois art and culture, which they regarded as symptomatic of a culture about to crumble with the First World War (Ball, 18).
• The group independently published journals to spread their anti-art program internationally.
• Dada journals conveyed Dadaist principles and activities through experimental language, text, performance and images.
• Consequently, the Dada movement is credited with creating several innovations in typography, language, film, and collage.
• Dadaism exploited the journal medium as a transportable, mass media site to form an alternative type of community. The Dada community was connected by their publications, which circulated internationally. (Hage, 2).
E: E-Zine
• An e-zine is simply an electronically published zine, usually ezines take the form of a serial newsletter.
• An e-zine could be distributed via e-mail as a word document attachment, as a PDF document, or as a Webpage.
• E-zine communities with common interests and affiliations network online, rather than through the postal service.
• For a comprehensive look at e-zines check out John Labowitz’s archive of web-based e-zines at http://www.e-zine-list.com/
F: Fanzine
• The science fiction magazine subculture of the 1930’s and 1940’s coined the term “fanzine” from which the more contemporary label of “zine” evolved.
• Science fiction fans circulated independently published magazines via snail mail around the globe.
• Fan fiction generally includes characteristics of original science fiction works written by fans, rather than the original work’s creators.
• Matt Gunderloy created a fanzine directory tilted “Factsheet5” which listed and reviewed fanzines. This directory created a centralized fanzine publishing community which spawned zine writings on topics beyond fan fiction, thus giving birth to the all encompassing “zine” culture.
G: Gallery-Like
• “Editors of zines act like curators, compiling the works and writings of people whose output excites them, and showcasing them within the pages of their publications (Gonulu, 1).”
• “Because the contributors of these zines have, in most cases, full control of the presentation of their works on the page, the context of the zine offers a more immediate and unmediated presentation of their thoughts and intentions than may be found in more mass marketed media formats (Golonu, 1).”
H: How-To Self-Publish
• DIY (do it yourself)
• Get informed: read up on what others have done, consult zine and book-making websites and books
• Wanna make a zine?
Read Matt Stovall’s “A Student’s Guide on What a Zine is and tips on how to make on Version 2.0” available at www.altgeek.net/voices/student_guide.htm
• Wanna make a comic? Start here: http://www.artbabe.com/comicsandart/diy/diy_make.html
and here: http://www.comicsreporter.com/index.php/all_about_comics/all_about/77/
• Wanna start a zine collection in your library? Check out the article “How to Start a Zine Library in Ten Easy Steps” by Miriam DesHarnais at http://www.leekinginc.com/xeroxdebt/xd18.htm
I: Information Dissemination
• “The present number of corporations controlling America’s media has dropped from fifty in 1993 to just five in 2004. The Supreme Court considers first amendment rights to belong solely to those American citizens who own the Media (Johnson, 15).”
• Alternative literature provides alternate paths for media and information to circulate, in spite of media conglomeration.
J: Journalism
• “In the case of ephemeral artistic practices such as performance or more idea-based projects, printed publications can also act as documentation of fleeting events and specific cultural moments witnessed by only a small group of people at a given moment (Golonu, 2).”
K: Kinetics
• “Zine making has provided an effective way of sharing ideas with networks of friends, colleagues, and collaborators (Golonu, 1).”
• “With the help of the postal service, artists and writers have overcome geographic breaches and disseminate their ideas, artworks and collaged graphics to expanding networks of attentive individuals and communities (Golonu, 2).”
L: Library
• “As popular library materials and library media becomes more homogenous, librarians are looking to zines as a powerful printed medium that could help balance the skewed ‘spectrum of thought’ that has threatened the democratic nature of materials collected in libraries (Zobel,1).”
• Three functions of an alternative media library collection:
1. To serve as local history, community news, and networking
2. To supplement subject collections
3. To serve as a primary source for popular culture research (Zobel, 3).
M: Mail and Correspondence Art 1970-1980
• Mail art came into vogue in the early seventies. Mail artists used the postal system as a forum for spreading art and developing communities of ideas without exchanging money.
• “An important goal in mail art was to participate in art commerce-free; mail art attempted to bypass galleries and elitism. They exchanged ephemera in the form of illustrated letters, newsletters, zines, decorated envelopes, postcards, and mail interviews (Perkins, zinebook.com).”
N: Networks
• Alternative Media in the United States has and will survive through communication networks. Alternative media networking has typically occurred through the post office, and now, the internet. These systems keep sub culture social/ political groups in contact. Small networks which disseminate alternative media influence our culture at large.
• “The use of the World Wide Web has created farther stretching networks of people working within the same medium as well as providing publishers a virtual retail area, increasing reader access to remote locations and allowing more people to see content than the self publisher could afford to non-virtually print (Stoval, 2).”
O: Oddities
• Self-published items fall under a very large scope of media from simple pamphlets to elaborate works of art. Because alternative publications are not mass produced for a profit, they take creative advantage to include oddities within their format as well as their content. Alternative publications range in size and shape and might be printed on recycled or non-traditional materials rather than paper. Oddities included within these publications might be stickers, photographs, gum, book marks, press on tattoos…you name it.
P: Punk
• The punk subculture of the 1980’s created a thriving underground press; spawning journalists and critics within the Punk scene itself. Punk zines were compiled with collage and Xeroxes, the zine culture surpassed the punk scene and entered into high visibility in the 1990’s (Wright, 30).
Q: Quick, Speedy, Presto!
• One of the foremost products of alternative literature are zines, this is because the zine format provides endless room for creativity and is relatively easy to make and circulate on a small budget.
• “Anyone with access to a photo copier can be a writer, publisher, and printer. The quickest method for getting an idea printed is to self-publish, (Stovall, 1).”
• Zines are typically photocopied; however, some choose to utilize other technologies such as offset printing methods, digital photography, silkscreen, and lithography. The content of zines could generally fit into the following categories: creative writing, comics, personal writings, fan based writings, science fiction, literature, art, music, reviews (Stoval, 4).
R: Responsibility
• Alternative literature is part of an open publishing system that allows for a freedom not permitted in mainstream media, as commercial success is not the primary goal of most alternative media output.
• There are times when inaccurate or slanderous materials are circulated, thus independent media has credibility problems. Therefore, publish responsibly.
S: Small Press
• Small Press publications are those that are published independently of large multinational corporations.
• Many small presses focus on a specific genre such as fiction, poetry, limited edition journals and books, chapbooks, or art books.
• Small presses tend to fill the niches that larger publishers neglect; their profit margins are significantly lower than large publishers.
• Small presses tend to have motives beyond profit such as disseminating literature with appeal to a small market, often their goal is to break even (Herman, 131).
• Small Press Resources:
o Small Press Distribution Website
http://www.spdbooks.org/
o The Small Press Exchange
http://www.smallpressexchange.com/
o Small Press News Room
http://smallpressnewsroom.blogspot.com/
T: Traditional Comics vs Underground Comix
• During the Cold War era and post war climate, a scapegoat mentality gained prevalence in the US, comics were increasingly blamed for the increase in juvenile delinquency.
• This anti-comic sentiment manifested itself in the form of inflammatory articles in magazines and newspapers, community meetings, and even occasional book burnings (Hatfield, 11).
• In order to save them selves, the comic book industry formed the Comics Code Authority in 1954 to review the editorial content of comic books.
• The comics industry wanted to ensure consumers that their comics abide by the provisions of the Comics Code, and were thereby safe to purchase. The Comics Code authority self-proclaimed themselves as the “most stringent code in existence for any communications media (Hatfield,11)”
• The final effect of the Comics code was to force comic books to “depict a world that was a denatured view of American social reality. (Witek, 51).”
• The sixties movement saw the rise of independent comic presses and publishing houses that delved into issues of sex, drugs, and rocking roll disregarding the comics code, they were labeled comix (Hatfield, 13).
• These alternative comics became the voice of popular culture identity in post war America.
• “Comix writers created works in the sequential art medium of unparalleled vigor, virtuosity, and spontaneity-after the underground comics, the Comics Code would never be the same (Witek, 51).”
U: Underground Media in the 1960’s
• The New American Poetry, 1945-1960 Anthology was published in 1960 by Donald M. Allen and Grove press. This historical publication was prophetic in its inclusion of young marginalized writers. For the first time, popular culture literature pushed forward through
(what appeared to be) a stale state of literature for the times.
• Until Allen’s publication, mainstream presses were largely ignoring talented discursive young writers in the United States. However, young writers had managed to create a thriving world of avant-garde literature through navigating publications on the small press circuit.
• “Of necessity, these writers invented their own communities and audiences with a small press or little magazine often serving as the nucleus of both (Clay, 13).” These writers created a fringe community sharing their writings on mailing lists “produced for a community of kindred spirits as a literary newsletter-a quick way to get work out.” The 1960’s underground publications were also venues whereby artists could explore and experiment with language much like the Dadaist in their small press publications.
V: Visionary
• Because of their grass roots organization, underground publications are often the first format to circulate new ideas and news into the public forum (Armstrong, 2).
W: Where can you find Self-Published Media?
• Most self published materials are not found through Amazon.com, so where do you find them? The following publications are a good start, these zine review zines review zines and alternative media:
• Zine World http://www.undergroundpress.org/
• Best Zine Ever http://www.tugboatpress.com/
• Broken Pencil http://www.brokenpencil.com/
• Xerography Debt www.leekinginc.com/xeroxdebt
• Self-published media can also be found in non-traditional bookstores, and “distros” or distribution centers. Here are a few places to start:
• Parcel Press http://www.parcellpress.com/shopfront/zineshop.htm
• Fall of Autumn http://www.fallofautumn.com/
• Microcosm http://www.microcosmpublishing.com/
• Atomic Books: http://www.atomicbooks.com/
• Quimby’s http://www.quimbys.com/
• Printed Matter http://printedmatter.org/
X: Xeinal guidence
• ZineWiki.com is an open-source encyclopedia devoted to zines and independent media. It covers the history, production, distribution and culture of the small press.
• Add your project, contribute additional information to already existing pages, or to edit what’s already published. Subjects should be explained in terms of their relevance to zines and independent media. ZineWiki was created by Alan Lastufka and Kate Sandler in June 2006.
Y: Yahoo Groups
• Zine Geeks: http://groups.yahoo.com/group/zinegeeks/
• Zinesters: http://groups.yahoo.com/group/zinesters/
Z: Zines and Zinesters
Zines are:
• Small handmade publication done purely out of passion, rarely making a profit or breaking even. Self-edited, self-financed, self-published serials.
• Topics, positions, and expressions are usually outside the “mainstream”.
• Usually edited and published by one or two persons independently and are usually produced using desktop publishing and photocopiers.
• Those who create zines are referred to as “zinesters”
A-Z Bibliography
Alternatives in Print: an International Catalog of Books, Pamphlets, Periodicals, and Audiovisual Materials. Compiled by the Task Force on Alternatives in Print, Social Responsibilities round Table, American Library Assosiation, 6th edn, NewYork, NY: Neal-Shuman and London: Mansell 1980.
Armstrong, David. A Trumpet to Arms: Alternative Media in America Boston: South End Pressk, 1881
Atton, Chris. Alternative Media. Sage Publications, 2001.
Ball, Hugo. Flight Out of Time. The Viking Press: New York, 1974.
Foster, Stephen C. Dada/Dimensions. UMI Research Press: Ann Arbor, Michigan. 1985.
Chepesiuk, Ron. “Libraries Preserve the Latest Trends in Publishing.” American Libraries. February 1997.
Clay, Steve and Rodney Phillips. A Secret Location on the Lower East Side. NY: Granary Books, 1998.
Golonu, Berlin. “They Look Good on Paper” Printed Matter, Inc, 2007.
Hatfield, Charles. Alternative Comics: An Emerging Literature. University Press of Mississippi: Jackson, 2005.
Herman, Jeff. Jeff Herman’s Guide To Book Publishers, Editors & Literary Agents. Stockbridge, MA: Three Dog Press, 2006
Herrada, Julie and Billie Aul. Zines in Libraries: A Culture Preserved. Serials Review; Summer 95, Vol. 21 Issue 2, p. 79
Hage, Emily. New York and European Dada Art Journals, 1916-1926: International Venus of Exchange. Dissertation under Christine Poggi, Associate Professor, University of Iowa.
Hsu, Hua. “File Under Other…” The Boston Globe. May 6, 2007.
http://www.boston.com/news/globe/ideas/articles/2007/05/06/file_under_other/
Johnson, Nicholas and Nancy Kranich. “Take this Media…Please!” The Nation, January
7, 2002. http://www.thenation.com/doc/20020107/replies
John Labowitz’s archive of web-based e-zines: http://www.e-zine-list.com/
Perkins. Stephen “Mail Art and Networking Magazines, 1970-1980” The Zine and
E-Zine Resource Guide http://www.zinebook.com/resource/perkins/perkins8.html
Stovall, Matt. “A Students Guide on What a Zine is and Tips on How to make One Version 2.0” http://www.altgeek.net/voices/student_guide.htm
The University of Iowa’s International Dada Digital Library: http://sdrc.lib.uiowa.edu/dada/collection.htm
Witek, Joseph. Comic Books as History. University Press of Missippi: Jackson, 1989.
Wright, Fred. From Zines to Ezines: Electronic Publishing and the Literary Underground. Dissertation. Kent State, 2001.
Wednesday, May 23, 2007
WCAD LIBRARY ZINE COLLECTION beginnings
How it got started:
December, 2007 was a busy month for me. I graduated, packed up my life and moved to Nashville to start my new job at the Watkins College of Art and Design as their Assistant Librarian.
After just four months on the job, budget time rolled around. I knew this was my only chance for the fiscal year to get an alternative media budget together. So,I wrote a letter to my Dean and Library Director introducing the idea of a zine collection, citing other academic libraries with zine collections, particularly noting that Pratt, a reputable art and design college, has such a collection. I also gave a small intro into zines, their history, and benefits for libraries.
I was told that my zine idea was "interesting" and given the green light to make a proposal. I had a weekend to pull it together.
I found the most helpful resources in drafting said document on the Barnard Library Zine Collection pages developed by Zine Librarian Jenna Freedman. I was most grateful to have access to these online resources available under the creative commons: attribution share alike 2.5 license.
Zinebrarianship: d.i.y. library zine collections
Hand out by Jenna Freedman which includes "Elements to include in a proposal for a zine (or other special/alternative materials) collection at your library" Boston Zine Fair, March 2006.
How to Start A Zine Library in Ten Easy Steps
I also found the Baltimore Public Librarian Miriam DesHarnais's guide, to be of great help in formulating a plan and vision for starting a zine library collection.
Sample Zine Collection Proposal
Written by Jenna Freedman, Coordinator of Reference Services, Barnard College, 2003
The following is a tweaked introductory proposal that I submitted to our Library Director and Dean March, 2007.
Watkins College of Art & Design Library (WCAD)
Zine Collection Proposal:
March, 2007
December, 2007 was a busy month for me. I graduated, packed up my life and moved to Nashville to start my new job at the Watkins College of Art and Design as their Assistant Librarian.
After just four months on the job, budget time rolled around. I knew this was my only chance for the fiscal year to get an alternative media budget together. So,I wrote a letter to my Dean and Library Director introducing the idea of a zine collection, citing other academic libraries with zine collections, particularly noting that Pratt, a reputable art and design college, has such a collection. I also gave a small intro into zines, their history, and benefits for libraries.
I was told that my zine idea was "interesting" and given the green light to make a proposal. I had a weekend to pull it together.
I found the most helpful resources in drafting said document on the Barnard Library Zine Collection pages developed by Zine Librarian Jenna Freedman. I was most grateful to have access to these online resources available under the creative commons: attribution share alike 2.5 license.
Zinebrarianship: d.i.y. library zine collections
Hand out by Jenna Freedman which includes "Elements to include in a proposal for a zine (or other special/alternative materials) collection at your library" Boston Zine Fair, March 2006.
How to Start A Zine Library in Ten Easy Steps
I also found the Baltimore Public Librarian Miriam DesHarnais's guide, to be of great help in formulating a plan and vision for starting a zine library collection.
Sample Zine Collection Proposal
Written by Jenna Freedman, Coordinator of Reference Services, Barnard College, 2003
The following is a tweaked introductory proposal that I submitted to our Library Director and Dean March, 2007.
Watkins College of Art & Design Library (WCAD)
Zine Collection Proposal:
March, 2007
What are Zines?
Zines pronounced like “magazines” are self published magazines or journals, created by someone with something to say and distributed for non-profit. Many Zine authors are artists who express themselves through Zines of various formats and content. Some Zines display high production values such as color plates or glossy pages, others are simply black and white pages stapled together.
A zine acquisitions project could help The Watkins Library towards achieving our 2007/2008 institutional objectives of:
Expanding our resources for the Watkins community :
The asking price for a Zine is usually one to three dollars to cover costs for printing and mailing. Subscriptions are generally around $10.00. The only other added costs here would be shipping and storing supplies. A zine collection can be built and maintained withing a reasonable cost and time frame.
Creating a more vibrant library atmosphere:
A zine collection will be an outreach tool to our student body which. Not only will it provide our community with unique reading materials, but will also serve as a repository for created works of students who create in this format.
Stimulating a student body interest in reading:
Zines appeal to a wide range of populations outside of the normal realm of general library users. A Zine collection is a great way to reach out to reluctant readers. Zines may provide a gateway to get Watkins students more interested in making reading a part of their creative habits.
Additional Benefits
Zines, like regular magazines and periodicals cover a variety of topics, our Zine collection would relate to the Watkins community interest of art and creativity. Zines will be selected for their variety and creative content.
Donations:
Many members of the Watkins community create Zines. Watkins faculty and students as well as outside artists may donate their zines for our collection.
Acquisitions:
Zines may be ordered through the following distributors:
1. Fall of Autumn
2. Microcosm Publishing
3. Parcell Press
Art-Zine Book Vendors:
4. Printed Matter
5. Oooga Booga
6. Art Metropole
Zines pronounced like “magazines” are self published magazines or journals, created by someone with something to say and distributed for non-profit. Many Zine authors are artists who express themselves through Zines of various formats and content. Some Zines display high production values such as color plates or glossy pages, others are simply black and white pages stapled together.
A zine acquisitions project could help The Watkins Library towards achieving our 2007/2008 institutional objectives of:
Expanding our resources for the Watkins community :
The asking price for a Zine is usually one to three dollars to cover costs for printing and mailing. Subscriptions are generally around $10.00. The only other added costs here would be shipping and storing supplies. A zine collection can be built and maintained withing a reasonable cost and time frame.
Creating a more vibrant library atmosphere:
A zine collection will be an outreach tool to our student body which. Not only will it provide our community with unique reading materials, but will also serve as a repository for created works of students who create in this format.
Stimulating a student body interest in reading:
Zines appeal to a wide range of populations outside of the normal realm of general library users. A Zine collection is a great way to reach out to reluctant readers. Zines may provide a gateway to get Watkins students more interested in making reading a part of their creative habits.
Additional Benefits
- Unique nature of collection may attract potential students to Watkins
- Unique nature of collection may attract community interest in Watkins
Zines, like regular magazines and periodicals cover a variety of topics, our Zine collection would relate to the Watkins community interest of art and creativity. Zines will be selected for their variety and creative content.
Donations:
Many members of the Watkins community create Zines. Watkins faculty and students as well as outside artists may donate their zines for our collection.
Acquisitions:
Zines may be ordered through the following distributors:
1. Fall of Autumn
2. Microcosm Publishing
3. Parcell Press
Art-Zine Book Vendors:
4. Printed Matter
5. Oooga Booga
6. Art Metropole
Technical Aspects
Cataloging and processing: Zines will be processed in a manner similar to our periodicals.
Should zine collection grow beyond control of assigned shelving, backup will be stored/archived for a period in the nearby file cabinets which hold exhibition catalogs and pamphlets.
A portion of our collection will be housed in our library permanently, pending on storage space and validity to the Watkins mission.
Access
Zines may be checked out and enjoy similar circulation privileges to books. Zines must be checked out though sign out sheet at the circulation desk until we get our collection entered on the new OPAC in 2008.
Budget & Funding
An alloted amount of zine funding could come from our periodicals budget. We may also have a zine open house event in our library in which we ask for donations to help fund the Watkins Zine project.
Action Plan
· Clearance plan with necessary authorities
· Determine acquisitions work flow
· Plan for open house in the fall/fund raising
· Create MS Access database and workflow manual for processing zines
Cataloging and processing: Zines will be processed in a manner similar to our periodicals.
- Upon receipt, zines will be entered into MS Access database indicating order process completed.
- Basic descriptive information will be entered into cataloging fields on MS Access database using Sears subject headings
- Zines will be displayed on periodical shelf which as of now holds a rarely circulating cartoon book display.
- Zines will be given an accession number in MS Access which will be repeated on zine backing for inventory and tracking purposes
- Zines will be displayed with cardboard stiffeners and plastic sleeves used for comic books
- A list from MS Access will be exported into a report with title descriptions. Patrons may search for items in our zine collection from updated report.
- Zine collection information will be migrated from MS Access to our new online catalog set to be in place for the next fiscal year, 2008.
Should zine collection grow beyond control of assigned shelving, backup will be stored/archived for a period in the nearby file cabinets which hold exhibition catalogs and pamphlets.
A portion of our collection will be housed in our library permanently, pending on storage space and validity to the Watkins mission.
Access
Zines may be checked out and enjoy similar circulation privileges to books. Zines must be checked out though sign out sheet at the circulation desk until we get our collection entered on the new OPAC in 2008.
Budget & Funding
An alloted amount of zine funding could come from our periodicals budget. We may also have a zine open house event in our library in which we ask for donations to help fund the Watkins Zine project.
Action Plan
· Clearance plan with necessary authorities
· Determine acquisitions work flow
· Plan for open house in the fall/fund raising
· Create MS Access database and workflow manual for processing zines
Tuesday, May 22, 2007
ART+BOOK+NOISE: going hybrid
I had the pleasure of attending last month's ARLIS (Art Libraries Society of North America) conference in Atlanta- my first large conference as a...gulp, professional.
I am still working on catching-up and implementing all I have learned...ahem-that's my lame excuse for not posting lately. I learned lots during the workshops, panels, meetings and so forth- however, the most exciting and moving moments came though chance meetings with old and new friends. One such chance meeting occured at the new members pub crawl.
I happened upon dining with CeCi Moss an art librarian, DJ, and author of the art+music blog A Million Keys and Suz Massen, an art librarian, art history grad student, comic book lover, and founder of The Desk Set. From said illustrious friends I gained some info to pass along here, hopefully they will illuminate choice words for post title, anyhow...enjoy and thank you, here's to chance meetings.
Ooga Booga Bookstore
"a mixed-up artsy hub where musicians can act like designers, artists can act like musicians, and designers can act like writers."- L.A. Edition
This site is worth checking out- find zines and various hard to find printed books, broadsides, music and other neat stuffs.
Rhizome.org
Rhizome is an interesting animal for those who gravitate to alternative media. Rhizome is a non-profit which serves as a global community and forum for new media arts. This website has shown pioneering leadership in using new 2.0 tools to create a dynamic website. Artists who post on this site have been given the honors of tagging their work. This has helped created a unique, creative, innovative web arts community.
Printed Matter
I had the pleasure of stumbling upon the Printed Matter booth at the ARLIS exhibition hall. I wanted to lick each and every book they had- they were just amazing. Printed matter carries a variety of periodicals (both contemporary and historical) relating to alternative media and arts. Printed Matter started as a non-profit alternative arts space in 1976, through the years it has morphed into one of the largest non-profits dedicated to publications created by artists.
Here is a blurb from their site...
"Recognized for years as an essential voice in the increasingly diversified art world conversations and debates, Printed Matter is dedicated to the examination and interrogation of the changing role of artists’ publications in the landscape of contemporary art."
Art Metropole
I also stumbled upon an exhibit from Art Metropole at the ARLIS conference having near exstatico fetish-like biblio meltdown as I pawned over their stacks. Founded in 1974 by a Canadian artists group "General Idea," Art Metropole is a non-profit that exhibits, publishes, and promotes contemporary artists' created media in book, music, and mixed media format.
I am still working on catching-up and implementing all I have learned...ahem-that's my lame excuse for not posting lately. I learned lots during the workshops, panels, meetings and so forth- however, the most exciting and moving moments came though chance meetings with old and new friends. One such chance meeting occured at the new members pub crawl.
I happened upon dining with CeCi Moss an art librarian, DJ, and author of the art+music blog A Million Keys and Suz Massen, an art librarian, art history grad student, comic book lover, and founder of The Desk Set. From said illustrious friends I gained some info to pass along here, hopefully they will illuminate choice words for post title, anyhow...enjoy and thank you, here's to chance meetings.
Ooga Booga Bookstore
"a mixed-up artsy hub where musicians can act like designers, artists can act like musicians, and designers can act like writers."- L.A. Edition
This site is worth checking out- find zines and various hard to find printed books, broadsides, music and other neat stuffs.
Rhizome.org
Rhizome is an interesting animal for those who gravitate to alternative media. Rhizome is a non-profit which serves as a global community and forum for new media arts. This website has shown pioneering leadership in using new 2.0 tools to create a dynamic website. Artists who post on this site have been given the honors of tagging their work. This has helped created a unique, creative, innovative web arts community.
Printed Matter
I had the pleasure of stumbling upon the Printed Matter booth at the ARLIS exhibition hall. I wanted to lick each and every book they had- they were just amazing. Printed matter carries a variety of periodicals (both contemporary and historical) relating to alternative media and arts. Printed Matter started as a non-profit alternative arts space in 1976, through the years it has morphed into one of the largest non-profits dedicated to publications created by artists.
Here is a blurb from their site...
"Recognized for years as an essential voice in the increasingly diversified art world conversations and debates, Printed Matter is dedicated to the examination and interrogation of the changing role of artists’ publications in the landscape of contemporary art."
Art Metropole
I also stumbled upon an exhibit from Art Metropole at the ARLIS conference having near exstatico fetish-like biblio meltdown as I pawned over their stacks. Founded in 1974 by a Canadian artists group "General Idea," Art Metropole is a non-profit that exhibits, publishes, and promotes contemporary artists' created media in book, music, and mixed media format.
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