‘Copy Machine Manifestos’: five artists on their zine practices

Embodiment  — At its core the digital copy is without a body. You can take a free copy of a work and throw it on a screen. But perhaps you’d like to see it in hi-res on a huge screen? Maybe in 3D? PDFs are fine, but sometimes it is delicious to have the same words printed on bright white cottony paper, bound in leather. Feels so good.

Craft is contemporary because it importantly maintains its tactile, bodily component in the face of computer technology. It connects people in the flesh and provides a much-needed alternative to the incessant push of digital interfaces, mediatization, and screen culture. Current stitch-and-bitch circles or knitting groups provide a respite from onl

This all made sense in a pre-digital age, when the only way an artist could connect with an audience was through a gallery show or write-up in some fancy art magazine. But today, by taking advantage of the Internet and social media, an artist can share whatever she wants, whenever she wants, at almost no cost.

social media has created a mass ability to publish images and curate them. On Tumblr and Pinterest and Are.na, you can group images into categories and comment on them. Through cheaper, consumer-grade media production tools, ideas once restricted to the underground or the zine now have glossy indie magazines, self-burnt mixtapes, and dozens of dedi