i would argue that risography looks and feels special in a more elevated way, the equipment is hard to access (compared to xerox), and the output i’ve seen usually looks like it’s made by trained artists who intimidate me with their skill, resourcefulness and ambition. so, not totally the same sort of thing i mean. BUT, “don’t give a shit what other people think” certainly stands as excellent advice no matter how good or bad you are at whatever it is that you like to do.
some of you may have noticed the skein of old zine material i’ve been posting. i found most of it on a blog called post modern trashaeology, which has an incredible wealth of fully scanned movie and music zines. looking at them makes me feel intense nostalgia for a scene and a time of which i was barely a part, not just because of the nature of their content, but the special quality of cheap but passionately constructed homemade print objects. if i were to xerox and staple a hand-collaged magazine like these today, would that automatically make me a “poseur” trying to do something “retro”? are we obligated to use the media and conveniences of the present, or else bear the burden of making some kind of statement about anachronism or something? why do i even feel so worried about this?
HTMLflowers (grant gronewold) and i were interviewed for the new issue of PRINTED PAGES. it was over skype and i don’t recall what we talked about (aside from grant’s upcoming book through space face). i remember grant absentmindedly playing with a knife partway through it and finding that amusing. i hope they mention the knife. (oh yeah and we did portraits of each other for the issue. “exclusive” portraits.)
jeff walker for bill steer’s zine phoenix militia
krystine kryttre for godvomit
allen k for midnight marquee