Selections from Copy Machine Manifestos: Artists Who Make Zines. See the full caption and credit below.
Selections from Copy Machine Manifestos: Artists Who Make Zines. See the full caption and credit below.
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
G. B. Jones (Canadian, born 1965) and Bruce LaBruce (Canadian, born 1964), J.D.s, no. 1, 1985. Photocopy, saddle stitched, 8 1/2 × 7 in. (21.6 × 17.8 cm). Published by The New Lavender Panthers. Collection Philip Aarons and Shelley Fox Aarons. Photo: David Vu
Bud Lee (American, 1941–2015). AA Bronson, John Jack Baylin, John Dowd, Felix Partz, Zeke Smolinsky during Decca-Dance, 1974. Color transparency. Morris and Helen Belkin Art Gallery, University of British Columbia, Morris/Trasov Archive © Bud Lee Picture Maker Inc.
Kathleen Hanna (American, born 1968) with Billy Karren, Tobi Vail, Kathi Wilcox. Bikini Kill, no. 2, 1991. Photocopy, saddle stitched, 8 1/2 × 5 1/2 in. (21.6 × 14 cm). Collection Philip Aarons and Shelley Fox Aarons. Photo: David Vu
Pat McCarthy (American, born 1987). Still from Babylon Pigeons, no. 13, Photocopying Pigeons, April 2019. Video; color, sound; 9 min., 43 sec. Collection the artist
Anna Banana (Canadian, born 1940). Vile, vol. 1, no. 2 / vol. 2, no. 1 (issue 4), Summer 1976, editor: Bill Gaglione. Offset, perfect bound, two-color offset wrappers, 11 × 8 1/2 in. (27.9 × 21.6 cm). Collection Philip Aarons and Shelley Fox Aarons. Photo: David Vu
Robert Ford (American, 1961–1994). Thing, no. 4, Spring 1991. Offset, saddle stitched, color offset wrappers, 10 5⁄8 × 7 7⁄8 in. (27 × 20 cm). Collection Steve Lafreniere. Photo: Brooklyn Museum, Evan McKnight
Copy Machine Manifestos: Artists Who Make Zines
November 17, 2023–March 31, 2024
This exhibition contains graphic content and language. Viewer discretion is advised.
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 over one thousand zines and artworks by over 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.
Learn more about our touring exhibitions and bring this exhibition to your institution by emailing exhibitions@brooklynmuseum.org.
Copy Machine Manifestos: Artists Who Make Zines is organized by Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Department of Art History and Archaeology, Columbia University, and Drew Sawyer, Sondra Gilman Curator of Photography at the Whitney Museum of American Art (formerly Phillip and Edith Leonian Curator of Photography, Brooklyn Museum), with Marcelo Gabriel Yáñez, Research Assistant, and Imani Williford, Curatorial Assistant, Photography, Fashion and Material Culture, Brooklyn Museum.
Leadership support for this exhibition is provided by Shelley Fox Aarons and Philip E. Aarons, the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust, and by 
Major support for this exhibition is provided by the Brooklyn Museum’s Contemporary Art Committee and the Rockefeller Brothers Fund. Additional support is provided by Elyse and Lawrence B. Benenson, Catie Marron, and Kathy Fuld.
Click to see the full caption and credit for the top-left image.
Left to right, top to bottom:
Ramdasha Bikceem. Gunk, no. 4 (detail), 1993. Fales Library, New York University. © the artist; Daniel Guzmán, Gabriel Kuri, Damián Ortega, Luis Felipe Ortega. Casper: Revista de título mutable, no. 5 (detail), 1998. Collection Luis Felipe Ortega. © the artists; Robert Ford, with Trent Adkins and Lawrence Warren. Thing, no. 5 (detail), Fall 1991. Collection Steve Lafreniere. (Photo: Brooklyn Museum, Evan McKnight); Ramdasha Bikceem. Paste-up for Gunk, no. 5, 1994. Fales Library, New York University. © the artist; Abraham Cruzvillegas. Casper: Revista de título mutable, no. 3, 1998. Collection Luis Felipe Ortega. © the artists; Robert Ford, with Trent Adkins and Lawrence Warren. Thing, no. 4, Spring 1991. Collection Steve Lafreniere. (Photo: Brooklyn Museum, Evan McKnight); Linda Simpson. My Comrade, no. 1, 1987. Collection Steve Lafreniere. © the artist. (Photo: David Vu); Linda Simpson. My Comrade, no. 7 (detail), 1990. Collection Philip Aarons and Shelley Fox Aarons. © the artist (Photo: David Vu); Joey Terrill. Homeboy Beautiful, no. 2 (detail), 1979. Collection Philip Aarons and Shelley Fox Aarons. © the artist and Ortuzar Projects, New York. (Photo: David Vu); Joey Terrill. Homeboy Beautiful, no. 1, 1978. ONE Archives at the USC Libraries. © the artist and Ortuzar Projects, New York; Raymond Pettibon. Tripping Corpse Four, 1984. Collection Philip Aarons and Shelley Fox Aarons. © Raymond Pettibon, courtesy the artist and David Zwirner. (Photo: David Vu); G. B. Jones and Bruce LaBruce. J.D.s, no. 1, 1986. Collection Bruce LaBruce. © the artists. (Photo: David Vu); G. B. Jones and Bruce LaBruce. J.D.s, no. 2 (detail), 1986. Collection Bruce LaBruce. © the artists (Photo: David Vu); Tammy Rae Carland. I ♥ Amy Carter, no. 5 (detail), Summer 1994. Collection the artist. © and courtesy the artist and Jessica Silverman, San Francisco; Mark Morrisroe and Lynelle White. Dirt, no. 4, 1977. Collection Willie Alexander. © The Estate of Mark Morrisroe (EMM). (Photo: Brooklyn Museum, Evan McKnight); Tammy Rae Carland. I ♥ Amy Carter, no. 4, January 1994. Collection the artist. © and courtesy the artist and Jessica Silverman, San Francisco; Mark Gonzales. Broken Poems, n.d. Collection Philip Aarons and Shelley Fox Aarons. © Mark Gonzales. (Photo: David Vu); Lisa Baumgardner. Bikini Girl, vol. 1. no. 5, 1980. Collection Philip Aarons and Shelley Fox Aarons. (Photo: David Vu); Raymond Pettibon. The Charm of Vice (detail), 1988. Collection Philip Aarons and Shelley Fox Aarons. (Photo: David Vu); Tammy Rae Carland. I ♥ Amy Carter, no. 4 (detail), January 1994; Mark Morrisroe and Lynelle White. Dirt, no. 1 (detail), 1975. Collection Willie Alexander. © The Estate of Mark Morrisroe (EMM). (Photo: Brooklyn Museum, Evan McKnight); Mark Morrisroe and Lynelle White. Dirt, no. 1, 1975. Collection Willie Alexander. © The Estate of Mark Morrisroe (EMM). (Photo: Brooklyn Museum, Evan McKnight); Tammy Rae Carland. I ♥ Amy Carter, no. 5 (detail), Summer 1994; Raymond Pettibon. Misadventures [with Nelson Tarpenny] (detail), 1989. © Raymond Pettibon, courtesy the artist and David Zwirner. (Photo: David Vu); Lisa Baumgardner. Bikini Girl, vol. 1, no. 7 (detail), 1980. Collection Philip Aarons and Shelley Fox Aarons (Photo: David Vu); Raymond Pettibon. Misadventures [with Nelson Tarpenny] (detail), 1989.
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