A DIY Collection

The article discusses the collection of zines which the Barnard College library has been accumulating since 2003. The author describes how the proposal to collect zines was written and sold to the college's administration. Tips on how to acquire and organize a library zine collection are offered. Payment options, distributors, cataloging, and preservation are also examined

Feminist Zines: (Pre)Occupations of Gender, Politics, and D.I.Y. in a Digital Age

This article examines the potential of recent feminist zines as frameworks of grassroots D.I.Y. and direct democracy in physical and digital communities. While the height of zine creations as works on paper may be traced to the 1990s, this form of feminist counterculture has evolved and persisted in cyberspace, predating, accompanying, and arguably outlasting the physical reality of protests, revolutions, and political expressions such as the Occupy Movement(s). Contemporary zines contain not only email addresses alongside ‘snail mail’ addresses, but also links to digital sites accompanying real-world resources. Zinesters today utilize the handmade craftsmanship and hand drawn and written techniques of zines in combination with the grassroots connectivity enabled by digital networks relating to zines. These physical and digital communities form interesting protest spaces. This paper explores the persistence and potential of zines as various expressions of personal and political feminist identities via maker culture and of explorations of the dimensionality of the screen and the page. The educational contexts considered in this paper include university zine collections, zine-making in K-12 teaching, as well as zine communities outside of schools and academia

Queering archives : the practices of zines

University of Technology, Sydney. Faculty of Arts and Social Sciences.This thesis is a consideration of zines and zine practices, and their impact on how we understand archives. I argue that to define zines we need to look past the materiality of the publication, and consider a broader set of practices. Considering zines as practices enables different, and not necessarily linear, approaches to archives. I demonstrate that zines have a queer sensibility, and this ‘zine’ sensibility can disrupt linear repro-time and space (per Halberstam) and ways of making archives. This thesis asks ‘what impact do zine practices have on how archives are understood and imagined?’ and addresses this question through the consideration of a series of spatial and temporal examples. These examples include formal collecting institutions, bedrooms, do-it-yourself archives in social centres and cafes, scholarly publications and zine anthologies. A secondary point of investigation asks ‘how do specific sites of non-normative research such as zines inform research practice, and what form can this research take?’ This question is addressed by employing a queer approach to methodology motivated by zine practices; I use scavenger techniques to build a body of knowledge that includes narratives, interviews, zines, gossip and academic texts. To queer archives disrupts normalised understandings of memory and histories, challenging assumed temporalities and reimagining the fixed space of ‘the archive’. Zines and zine practices unsettle assumptions of archival spaces, and through this archives can be reimagined as generative and productive sites of practice and knowledge, rather than static sites of fact and record

'Do it Yourself' Girl Revolution: LadyFest, Performance and Fanzine Culture

Riot grrrl began as an independent music and political movement in the early 1990s emerging initially in the USA and few years later in the UK. From the beginning riot grrrl embraced a 'do-it-yourself' ethos operating outside the mainstream music business organising independent music festivals, workshop events and encouraging self-published fanzines (fan magazines which were distributed primarily through word of mouth, music gigs, artists and zine book fairs or by post). These zines became recognisable forms of personal expression and made visible a specific DIY approach alongside the development of a coherent style of graphic language in the producer's use of the photocopier, handwritten and graffiti texts, cut-n-paste and ransom note lettering style, collage and the co-option of mainstream media imagery. These production techniques made fanzine publishing accessible and played a central role in the development of a non-hierarchical community. The main intent of this talk is to explore the idea of 'event as performance' using as a case study the specific activities of riot grrrl and focussing on a series of international events called 'LadyFests' and the graphic language of self-published riot grrrl fanzines. This will be achieved by examining the origins of today's riot grrrl performances (e.g. theatre, spoken word, music events) in 1970s feminist art, as well as locating the activities within the specific context of their counter-cultural predecesors including punk and punk performance

Zines as qualitative forms of analysis

Purpose: This report brings forward the possibility of capturing creativity and human experience through a visual ethnography approach, applying the use of ‘zines’ as a means of capturing individual engagement with a process. Zines are small (maga)zines from the do-it-yourself movement. They began as a means for fans to express their support of favourite musicians. They are a means to express collective voice from the ground up, less formal than a publication produced by an entity, but formal enough to be considered publications in their own right. Zines can be handcrafted in rough method or can be beautifully designed and produced to very high standards. Zines are presented in this paper as a method of collecting and analysing data within a framework of qualitative analysis that retains more of the shape of the complete experience (Dewey). This is done so as to maintain a more overall sense of what the experience was for an individual participating in an activity within the organisational context. Accounting for experience only through evidence, this paper argues, loses many important elements of experience, such as tacit engagement, experiential knowledge, and individual judgement. What is being lost, this paper argues, is the human creative input and engagement with experiences in the organisational and workplace context. Design/methodology/approach: For IFKAD 2016, we propose to produce materials ahead of the conference (in the form of an advanced colouring book or a photo album) and invite participants to gather materials, notate impressions, draw and photograph in response to their experience in the conference. We aim for this zine to be a holistic record of a process, incorporating both positive and negative elements as a way of informing future activities. At the end of the conference, the researchers will collect and analyse the individual zines submitted by the conference participants and prepare an edited summarised publication of key impressions as made by the participants themselves as a response to the conference. Originality/value: This work proposed could be done solely for the Creative Coordination track or could involve all members attending the conference. The aim is is to implement this as a qualitative means of accounting for human experience by using IFKAD 2016 as a testing ground. Can we capture the thinking and impressions in this way to account for creativity and inform new methods? Practical implications: The researchers will co-create the materials. At the end of the conference, we will gather all mini publications from all the conference attendees who took part and create an edited summarised publication as a response to the conference. This will constitute a qualitative record of the creative endeavour during the conference

Editorial: PreOccupy/Maximum Occupancy

When the Editor and Associate Editor conceived of this call for papers for PreOccupy/Maximum Occupancy, it was based on the Caucus members’ input during the annual meetings of the Caucus on Social Theory and Art Education (CSTAE) at the National Art Education Association conference, NAEA 2012, New York. We listened to our colleagues speak about the year’s events, and we discussed how we as art educators could respond to the needs of the Caucus and of our field for Volume 33 of the Journal of Social Theory in Art Education (JSTAE)

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