A medium that basks in the unruliness and unpredictability of the creative process, zines are gloriously chaotic and difficult to pin down. Requiring little more to produce than a copy machine, a stapler and a vision, zines played a hugely democratizing role in art during the 20th century and have managed to stay popular and relevant in spite of web-based innovations, like blogs, that might have supplanted a less compelling medium.
The Brooklyn Museum’s substantial and exciting new exhibit, Copy Machine Manifestos, offers a welcome, thorough examination of zines made by artists. With over 800 objects on display, Copy Machine Manifestos is a crucial step toward documenting the zine scene, even if, in zine terms this show is a proverbial drop in the bucket. As the exhibition co-curator and art historian Drew Sawyer put it in an interview: “Even if we wanted to be very inclusive and seemingly comprehensive, we knew it would be impossible to claim to be comprehensive in any way. It would be delusional to think anyone could be comprehensive on a history of zines.”
