Skate Zines: A Deep Dive into the Art, Culture, and Legacy

The world of skateboarding has always been more than just tricks and ramps; it’s a vibrant subculture with its own forms of expression. Before the age of online videos and social media, skate zines were the lifeblood of the community. These DIY magazines served as a crucial platform for documenting, critiquing, and celebrating skate culture. This article explores the significance of zines in skateboarding, drawing insights from a recent exhibit, Copy Machine Manifesto’s: Artists Who Make Zines, and featuring perspectives from its organizers.

A black and white photo of a skateboarding zine coverA black and white photo of a skateboarding zine cover

Zines, characterized by their low-cost production and independent spirit, have long been a powerful tool for self-expression and community building. Skateboarding legends like Mark Gonzales, Ed Templeton, and Todd Swank have embraced this medium, creating zines that are now highly sought after. These publications go beyond simple documentation; they offer a raw and authentic glimpse into the lives and minds of skaters.

Copy Machine Manifesto’s at the Vancouver Art Gallery brought these subcultural artifacts into the spotlight, highlighting the intersections between skateboarding, punk, queercore, and graffiti. Curated by Branden W. Joseph, a professor at Columbia University, and Drew Sawyer, a photography curator at the Whitney Museum, the exhibit delves into the cultural significance of zines. They explore the complex relationship between these underground movements and the mainstream art world.

A colorful banner with the text "ZINE HEADER" in a bold, stylized fontA colorful banner with the text "ZINE HEADER" in a bold, stylized font

Are All Zine Makers Artists?

One of the central questions raised by the exhibition is whether all zine makers can be considered artists. While some use zines for artistic expression, others see them as a form of journalism, reporting on the local scene. The inherent artistic nature of zines blurs the lines, raising questions about what is considered art. As Branden W. Joseph stated, “The question of what is art and what isn’t is something that runs throughout the entire exhibition.”

Drew Sawyer adds that the exhibit aimed to explore the fringes of the art world, featuring diverse creators including drag performers. While they couldn’t include every skateboarder, they selected figures like Mark Gonzales, whose involvement with Alleged Gallery, Susan Cianciolo, and Aaron Rose, connects the skate world with a broader artistic milieu. This highlights the unique overlap between skateboarding, filmmaking, photography, and graffiti.

The Allure of Illegality and the Subculture

The discussion also touches on the allure of illegality in street culture. While not the primary attraction, the rebellious nature of activities like graffiti and skateboarding often draws the attention of the art world. As Drew points out, these subcultures offer an injection of creative energy that challenges traditional artistic institutions.

Branden emphasizes that zines possess a secretive quality, circulating within small groups, often outside the gaze of mainstream culture. This sense of exclusivity connects them to graffiti and skate culture, where activities often take place outside established norms. IGTimes, a zine by David Schmidlapp and Phase2, exemplifies this, showcasing how graffiti can be framed as art rather than a crime. The zine’s design, a fold-out color poster, further emphasizes this point.

“Zines, in a way, are public, but they’re not as public as a magazine. They circulate amongst subcultures or small groups, so there’s something secretive about them sometimes.”

There’s an inherent effort in zine creation to establish legitimacy. Creators assert that their work is culture, not a crime. This effort serves as a crucial intermediary step before these subcultures gain wider recognition in the art world. The collaboration between Mark Gonzales and both Alleged Gallery and Andrea Rosen Gallery shows this back-and-forth dynamic, driven by the participants themselves.

A photo of the zine *IGTimes* by David Schmidlapp and Phase2A photo of the zine *IGTimes* by David Schmidlapp and Phase2

Subculture Transformation and the Role of Zines

The exhibition also examines the evolution of subcultures, emphasizing that they transform over time. Punk culture, for instance, is shown to have diversified into hardcore, queercore, and Riot Grrrl movements. Zines play a crucial role in this transformation, often acting as oppositional forces that challenge the status quo.

Zines also serve as platforms for discontent, whether directed at mainstream culture or internal issues within a subculture. Ramdasha Bikceem’s zine, Gunk, serves as a perfect example. She created the zine to express herself as a black, female, punk skateboarder, feeling excluded by mainstream skate magazines like Thrasher. This act of pushing against the limitations of a subculture is a key function of zines.

A photo of a zine cover with colorful illustrations and textA photo of a zine cover with colorful illustrations and text

The Lasting Impact of Skate Zines

Despite the focus on other subcultures, skate zines have significantly influenced the larger photo zine format. Early 80s skate zines, documenting skaters and tricks, were primarily photographic. Todd Swank’s Swank Zines exemplify this trend. This influence can be traced to artists like Ari Marcopoulos and Ryan McGinley, demonstrating skateboarding’s impact on broader artistic practices.

Branden highlights another aspect of skate culture: its ability to unite diverse groups of people. Skateboarders have brought together metal, punk, and hip-hop fans. This cultural integration creates communities and facilitates political engagement.

A photo of the cover of *Swank Zine* by Todd SwankA photo of the cover of *Swank Zine* by Todd Swank

The Rarity of Mark Gonzales’ Zines

Mark Gonzales’ zines are notoriously difficult to find. They were produced in small, often unnumbered runs, and sold for very little or given away for free. This is in line with the ethos of zine culture. Being able to see so many of his zines together at the exhibition was a rare opportunity. The exhibition featured around 20% of its 1,400 objects from Mark Gonzales, highlighting his central role in the zine movement.

A photo of pages from the book *Non Stop Poetry: The Zines of Mark Gonzales*A photo of pages from the book *Non Stop Poetry: The Zines of Mark Gonzales*

Defending Gonz’s Art

Some critics have dismissed Mark Gonzales’ art as unsophisticated or childlike. However, Branden argues that his art is “willfully” childlike, and displays a subtle form of sophistication. He points to Gonz’s writings on race and discrimination, as well as the playful humor found in his work. The sequence of images in his zines highlights the depth and complexity of his art.

A photo of an open zine with various illustrations and textA photo of an open zine with various illustrations and text

The Enduring Power of Print

Despite the digital age, the physical intimacy and tactility of zines give them a lasting appeal. Zines often create a connection between the artist and the reader. This emotional response is something that cannot be replicated by digital media. People feel passionate about these physical objects, making them valuable and meaningful cultural artifacts.

The enthusiastic response from younger people visiting the exhibition demonstrates the enduring power of print. Even when displayed under plexiglass, zines inspire and resonate with viewers. They’re not simply products to be consumed like digital content, they are physical expressions of subcultural identity.

Conclusion

Skate zines are more than just publications; they are vital documents of a vibrant subculture. They offer a unique perspective on skateboarding, art, and culture. The Copy Machine Manifesto’s exhibition highlights the importance of these DIY creations and their enduring legacy. From their role in pushing boundaries, fostering community, and expressing discontent, zines continue to be a powerful form of self-expression in the skateboarding world and beyond. They remind us that even in the digital age, there’s a unique power in the physical object and the stories it tells.

This examination of the skate zine culture reinforces its significance in the broader artistic landscape. Through the lens of experts like Branden W. Joseph and Drew Sawyer, the exhibition invites a deeper appreciation for the creative energy and historical context of these underground publications.

This article draws on an interview with Branden W. Joseph and Drew Sawyer, organizers of the “Copy Machine Manifesto’s: Artists Who Make Zines” exhibition at the Vancouver Art Gallery.

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