Hua Hsu discusses “Copy Machine Manifestos,” an ambitious exhibition at the Brooklyn Museum about zine-making and the American cultural underground.
I didn’t know it at the time, but I was participating in a long tradition shared by the young and alienated, people who were enamored with the fringes of culture. It would be impossible to imagine a comprehensive history of zines, since it would be made up of so many small, forgotten moments like this one. Countless publications have started and then never made it past one or two issues. What mattered was that you tried at all.
Contextualizing works within artists’ œuvres would have helped, too. What did the expanse of a zine allow Raymond Pettibon, Miranda July, or Harmony Korine to explore that they couldn’t in their painting, or writing, or filmmaking? The last gallery featured a small display of zines for picking up and browsing, and a gallery online featured scans of selected issues.
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