Zines defy simple definition. At once aesthetic object, cultural archive, and activist art form, they take countless shapes: personal zines, feminist zines, queer zines, punk zines, and fanzines, to name just a few. What unites this diverse medium is its role in cultural community building. Zines embrace a DIY ethic, challenging traditional hierarchies of publishing and enabling more people with access to basic tools to share their ideas.
Zines break down barriers to cultural production by inviting collaboration. Many use a submissions-based format, inviting community members and readers to actively contribute and co-create the content. Affordable and accessible, zines provide a way for people to support artists without the cost of high-priced art pieces, fostering a sense of shared ownership and engagement. This collaborative spirit also extends beyond the page, as zine releases often take the form of art exhibitions, poetry readings, punk shows, or mutual aid gatherings.
Orlando is home to a vibrant zine community, much like many cities across the country and the world. One of the highlights of this scene is the annual Orlando Zine Fest, where both new and established creators exhibit, sell, and trade all manner of expressions of the format. This event reveals the creativity and range of local zinesters, showcasing the diverse voices and perspectives that shape the region's zine culture.
This dynamic spirit is reflected in the zines on display here. Ephemeral by design and often anti-establishment in spirit, zines resist traditional exhibition norms. This collection is not comprehensive but rather represents a sampling of Orlando-based zines that reflect the form’s incredible diversity. These works celebrate the longstanding zine culture in Orlando, offering a snapshot of a creative community built on collaboration, accessibility, and radical self-expression.
zines inside the
Orlando Museum of Art
Brittany Metz: Apperception
at Art Haus
Brittany Metz employs moving image, video stills, cyanotype, altered magazines, and sculptural collage to explore the nature of our experience and perception through the interconnected concepts of time, ephemera, and present-mindedness. The bridge between these concepts spans their shared emphasis on impermanence and, accordingly, the importance of appreciating the present.
Memories may capture some aspects of the ephemeral past, but they are by nature incomplete, fading over time and shifting with each recollection. By separating vernacular snapshots from their captions and framing the subjective descriptions instead of the subjects themselves in her suite of cyanotype prints, Metz underscores the fragility, transience, and impermanence of experience. The medium formally emphasizes this ephemerality, itself a metaphor of evanescence as an alchemical capture of the shadows of objects.
Though the present moment is fleeting, by cultivating present-mindedness, we might better take things as they come. Metz works to capture the current through meditative making of altered images and constructing forms. Utilizing stream of consciousness, typing on a vintage Smith Corona typewriter to usher the unmediated moment, Brittany’s altered magazines emphasize the impression of images in the intimate voice of interiority.
Her constructions—mixed media sculptural collage of found objects, paper, and photography—engage in a dialogue with found object art, or objet trouvé, using everyday objects, discarded and unaltered, as art materials or subjects, further exploring transience of the material world. Centered in the moment of making,
these works are formal explorations of design which operate as visual meditation, striving for harmony among elements.
Metz’s moving images transcend the divisions among sculpture, print, video, and sound, stretching the space between the lasting and the fleeting. Working in the vein of contemporary artists like Sarah Sze, Metz offers a multisensory vehicle for contemplation and meditation in her moving image series Presence, and in the
projected looped video, Still II.
Richard T. Reep premieres a new body of work at Hollerbach’s Art Haus with a suite of sculptural studies expressing his views of the current state of architectural design.
What is Burglitecture?
It’s an architect, caught burglarizing architecture and stashing the loot in their art. It is a theft of textures, a kidnapping of cornices and canopies, an armed robbery of rooflines, an assault upon space, a smash-and-grab of windows and doors.
Burglitecture is non-architecture. It is unbuilding, it is thievery of architecture for a subversive purpose: art. It’s a larceny of the landscape, a heinous heist of high design. Burglitecture breaks and enters the sacred temple of Architecture and robs it of dignity and purpose.
As such, Burglitecture is an architectural crime, a felonious act ripping off architecture and calling it art! Richard T. Reep updates the spectacular career of George Leonidas Leslie–known to some as Western George–, a New York architect who used his intimate knowledge of building design to run a successful criminal gang in 19th century New York and Philadelphia, seizing millions from Gilded age robber barons of the northeast.
Critic Naomi Stead, known for her work on the intersections of gender, power, and the built environment, declared, “The opposite of an architect is a burglar.” Architecture is not safe around Reep. He has an intimate knowledge of buildings and the city gained from over thirty years of design practice, and uses this knowledge to nefarious ends, stealing from architecture and putting this creative misuse into art.
Hollerbach's Art Haus is transformed into an evidence room, displaying work seized from the studio.
Richard T. Reep is a contemporary American Artist born in 1960 in St. Paul, Minnesota. He practices architecture and has an art studio in Orlando, Florida. While designing spaces, Richard recycles curb alerts and construction waste into art, paints about Audubon Park, FL, and casts sculpture out of concrete.
Psych Cat exhibits a group show at Hollerbach's Art Haus from February 2 through March 30, 2023. Eternal Recurrence features work from: Sara Haj Ali Akbari, Trévien Blodgett, East Docht, Sarah Judsen, Alicia Sales, Maria Sardi, Sapphire Servellon, and Alejandra Tobón.
Curatorial statement by Psych Cat:
Grappling with the continuous fight between the opposing forces of pain and pleasure, joy and grief, “Eternal Recurrence” showcases eight talented artists that embody the will to power, or Nietzschean creative self-determination. Each piece in this show takes aim at life’s boundless development intertwined with the stagnation of monotony. Whether in the context of their stories, the patterns used, or the landscapes depicted, these artworks grace us with a sense of familiarity. Tapping into the source of human turmoils and triumphs, these playful nuances of surrealism induce a state of being transfixed and remind the audience of the denial of absolute beginnings. As such, this showcase serves to catch viewers within the harmony and dissonance of our eternal return. As we might say, whatever may happen will happen.
Psych Cat is an artist collective located in Central Florida. The collective hit the ground running as a part of Orlando’s DIY scene with a pop-up tour and zine release in 2016. Psych Cat has since represented local artists at IMMERSE by Creative City Project, Henao Contemporary Center, Downtown Arts Collective, Orlando Zine Fest, Gallery Eola, The Space Station and more.
A charitable art auction to benefit the Porchfest Foundation. Artists represented in the silent auction on February 25 during Sanford Porchfest donated their works to help fund arts scholarships for Seminole County youth through the Porchfest Foundation. $5,000 raised.
Participating artists:
Linda Amundsen, Josh Bauer, Devon Chiodo, Linda Delaune, Danie Flores, Sara Hollamby, Linda Hollerbach, Rebecca Pebble Maderski, Michelle McCann, Victoria Nelson, Ryan Otero Price, Bryan Paredes, Jennifer Payne, Ann Rank, Richard T Reep, Sastri Ceramics, Mark R. Seppala, Laura Serdiuk, Volodymyr Serdiuk, Mariza Shelbrook, Dawn Snell, John Sullivan, Faye Tambrino, Kimberly Turner, Jazzy Valle, Penny Wellman
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With the mysterious cityscapes of de Chirico, assemblage figures recalling Dada's automatons and the mannequins of Carrà, the absurd machinations of Remedios Varo, and the archeological reminiscence of Salvador Dalí, Ryan Price explores farcical parables and mythological fables, inspecting mortality but with the whimsy of a jester.
These disconcerting dreamscapes are littered with danse macabre, dressed up in masque. The effect is both fanciful and formidable.
Drawing from the scuola metafisica movement of the early twentieth-century, Price's paintings and prints return to the roots of surrealism, examining the landscapes of modernity but with a fractured aspect. Using Classical and medieval sources as points of reference, this work drags nineteenth-century Romanticism through the treachery of images.
Ryan's surreal still life compositions and enigmatic figural combinations–the minaret-women, cyclopian luthiers, skeletal creatures in cap 'n' bells, motley jinns, and the tokusatsu sword fighter–recreate the workings of dreams, suggesting the Freudian technique of free association. These juxtaposed objects and figures transmute mythologies into signs that transcend the intervention of the conscious mind.
Considering this exploration of the unconditioned and the absurd, it is no surprise that Ryan pays homage to the lost art of the limerick in his poetry. Contained within the collection included in this show are illustrated pieces that provide further insight into Price's creative process. A Distant Mirror: Poems & Pictures gives the impression of simultaneous eruption of allegory in word and form through automatism, shaping the subconscious into sooth.
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November 17, 2022 - Opening Reception, 6-9 pm
January 12, 2023 - Automatic Drawing Workshop 6:30 - 8 pm
January 20, 2023 - Closing Reception, 6-9 pm
Ryan Otero Price (b. 1994) is a central Florida based artist and poet. Price's imaginary worlds and use of caricature to invoke humor come alive in this suite of drawings and poems.
Instagram: @ryan.o.price
Tik Tok: @ryan.o.price
www.ryanoprice.com
Hollerbach's Art Haus presents a group show featuring work by fifteen artists in reflection of the theme of 'trash'. Many have taken a literal approach to this call for entries, using trash as their medium, crafting submissions from discarded, found, and/or recycled materials and post-consumer ephemera as commentary or conservation effort. Others approach the theme more conceptually, addressing the state of disposal through visual exploration of consumption, waste, and the social construction of both material and cultural value.
Central Florida-based artists featured in the show include Kieran Castaño, Nick Criscitelli, Kira Gondeck-Silvia, Daniel A. Harris, Kim Mathis, Bryan Murch, Ryan Price, Richard Reep, Fabienne Riesen, Leah Sandler, and Sapphire Servellon, as well as Orlando expat Stephanie Lister. Work from Richmond-based photographer Mallory Burrell Anderson, Los Angeles’ Danie Flores, and Lee Musgrave of White Salmon, Washington will also be shown.
This show spotlights a wide range of styles and mediums, including assembled sculpture, cyanotype, collage, film and digital photography, as well as oil and acrylic paintings.
Garbology will be on view August 25 - October 27, alongside a solo show of paintings by local artist Priscilla Billingsley.
Commission on sales from this exhibit will be donated entirely via Hollerbach’s Has Heart 501(c)(3) to the Haven to support their mission of wildlife rehabilitation.
This show features Sanford-based artist Priscilla Billingsley’s most recent series of mystifying portraits imagining the spaciousness of interiority and its relationship with plant and animal life. Priscilla’s paintings evoke her upbringing along Florida’s St John’s River, known to the Seminole as Welaka, or “big water”. Her trilogical compositions, pairing human subject with their earthly avatars, illuminate the coextension of symbols throughout the natural world. Her distinctive application of color, renderings of enigmatic expression, and imaging of uncanny space move a viewer to consider their gaze and to contemplate the mystic.
Priscilla Billingsley is a multifaceted artist living in Sanford, FL. She is a graduate of The University of Central Florida where she studied Visual Arts. A painter, she also has worked in digital design and ceramics. Growing up on the St. John’s River and spending time enjoying the outdoors has inspired her creative endeavors.
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Alex Jaggers' paintings evoke dissociation; they make available atmospheres of drift. Influenced by the illogical scenery of surrealism and informed by the delirium of this protracted postmodern moment, these paintings offer deliverance to delicate landscapes through simultaneously precise and ambiguous floating forms temporarily occupying an infinite threshold on the verge of vastness.
Alex Jaggers is based in Orlando, Florida and has a background in art conservation. She is currently pursuing a degree in art history from UCF.