Logo/Graphic

Bronwyn Mauldin's "Democracy Series" is a collection of zines about how you can engage in democracy, from voting to protest and back again. "Protest 101" began as a workshop, became a zine, and was exhibited at the All Media 2017 show at the Irvine Fine Arts Center. "How to Recognize Voter Suppression in its Habitat Naturel" was a finalist for the Broken Pencil 2017 Zine Awards. Also included in the series is a one-sheet pocket guide anyone can use for "How to Change the World."

  • Please upload 2-5 images of your work.
  • Please upload 2-5 images of your work.
  • Please upload 2-5 images of your work.
  • Please upload 2-5 images of your work.
What methods do you use to make your zine?
  • Handwritten/drawn
  • Cut-and-paste
  • Photocopying
  • Digital
What type of binding do you use for your zine(s)?
  • Folded
  • Stapled
When did you start making zines ... and why?

My first zine was an alternative guide to the Petroglyph Trail at Mesa Verde National Park, which I created while an artist in residence at the park. It uses the model of a numbered guide to tell the narrative story of a hiker's misadventures on my favorite trail in the park. It's available for download in both print and audio versions at http://www.bronwynmauldin.com/blog/call-of-the-wild-artist-in-residence-at-denali-national-park

What is your favorite part of making zines?

By the time 2016 staggered to a close, I felt like I'd been beaten flat as a sheet of newsprint by what social media has become. I uninstalled Facebook, started spending more real time with friends, and began making tangible things like soap and zines. The conversations I've had with friends have inspired my zines. Along the way I've discovered the ability to turn knowledge and facts into something that has a physical existence in the real world is a powerful antidote to fear.

How do you feel that are zines important in terms of independent media and publishing?

I'm a huge fan of the indie book world, from bookstores to small presses to the writers whose work they champion. Zines occupy a special place alongside that world, one where work that simply can't meet the exigencies of capitalism can still find an audience and where their makers can build a community.