Thanks to everyone who participated. I received lots of great stuff this year, and am honored to be able to help these artists from around the world, even if it's just in some small way.
Next year the prize money will be lowered... it's unfortunate but it's getting to be too much for me to handle financially all by myself, while still affording to do my own projects. And some of the submission guidelines will have to be adjusted. The Dec 31 postmark deadline turned out to be a bad one... it makes me have to wait a long time before I can confidently announce winners.
To be honest, this year should have been the year I scaled it back a bit, but a promise is a promise. This year the cash prize will remain at $200 for both first place winner in each category, but the additional prizes may be a little light this year. I'll see what I can do, I try my best.
I will have results most likely this week, submitters made this job difficult, so many things were submitted and hardly any two were similar. That is a giant accomplishment in a medium that encourages copy and pasting – the technique can sometimes bleed in to the work… but not in these cases. We had comics, and poetry, photography, and experimental design… we had just about everything.
I know it’s odd to have the person giving you money thank you for being a part of this project, but I really am thankful that people keep doing this kind of work, day to day, year to year, a medium so undervalued and yet so accessible and important to the world and to art in general.
Thanks for being a part of the conversation.
Aprils newest zine, Celestial Hearts, is part of her on-going project Valley of Paradox. This issue promotes learning more about the universe and honors those who have explored it. April says within the zine that "Some look at the starts and feel insigificant. In terms of size, we are very small". But when April see the skies she feels moved to be a part of this marvelous universe.
To learn more, visit her website:
Claudia submitted her zine last year, winning the 2nd place spot. This year she returns just in time. Her zine, postmarked December 29th, measures in at about 2"x3" when folded, but expands out to a full 11" wide. The project showcases meditative landscapes she drew and collected into 3 volumes: Mountians, Dessert, and Night. She thinks of these collections as mobile happy places that you can carry around with you in your pocket. This way when you're stressed you always have a visual to help calm you down. Claudia asks people to look through all of them and pick the one that calms them the most. I picked the one below:
To learn more about Claudia's art, visit:
Khat's zine is called (: and takes alook at both sides of happiness. The first issue is a perspective but Khat tells me that future issues will look through other lenses. Khat says that each issue will ask the question: Am I going to be happy even through the times I feel grey? Allowing yourself to sit through the natural emotions we have but knowing the end goal is happiness. She explores these topics through paintings, photography (with help from friends), poems, and fiction.
To learn more, email Khat:
Jessica Miller sent me Peaches & Beaches, a full color, full bleed zine inspired by a trip she took with two friends took up the PCH and to Alaska. They hitched in Alaska for a month, hiking and camping and just being wild. They also ate a ton of peaches.
To learn more about Jessica and Peaches:
This is Sula Collective's first print issue of their zine, co-founded by Sophia and Kassandra, Sula Collective was created in an act of resistance toward art spaces that excluded people of color and as a place where people of color could see other POC of all ages creating and thriving in all forms and mediums, welcoming all ages, genders, sexualities, and ethnicities.
This volume is their Women's History Month issue and they are working on their 4th printed issue and hope to continue growing so they can keep giving a platform to creatives of color whose voices are often ignored and not given equal opportunity.
To learn more about the Sula Collective:
Eileen White is from the southern coast of England, her submission to the 2016 AxP was a small zine that's part of an ongoing project called 'Book Case Press'. The Book Case Press aims to be a transportable, non-toxic, and affordable way of generating new work, as well as a vehicle for teaching others to print and make artist books.
She is part of a small collective of artists based in Winchester, UK. The collective focuses on printmaking, stitching, photography, and ceramics.
This zine was created in response to historical sites visited in the recent past and include Winchester Cathedral and Wymerring Manor, the most haunted house in England. The zine was made organically by reworking hand made prints, drawings, and poetry using a risograph printer.
To learn more about Eileen White:
MML's zine "Girl with a Temple Behind Her: Ten Days in Bali." is one of several travel diary zines. This one is about the overwhelming opportunity to go somewhere great, and the inherent guilt of not really enjoying yourself when you're there. It's a narrative that toes the line between really intense feelings of joy and positivity and of guilt and negativity.
MML claims to not be a visual artist and used to feel intimidated by the zine community. Until relizing that it didn't matter if you couldn't draw or paint or print, you could still write and cobble stuff together, foerming your own individula interpetation of what a zine is or could be. Which to me is the essence of what zines are all about.
To learn more about MML and the travel diaries, check out:
Patricia Silva submitted her zine, Larker, into this years Art Exchange Program. The larker Anthology focuses on increasing the visibility of bisexual culture through the artists and activists that make up their community. She included such a detailed letter of explaination I asked her if I could post it here.
To learn more about the Larker Anthology:
Letter of Explanation BY Patricia Silva
Larker Anthology is an independent large format art zine celebrating the visual and cultural heritage of the resilient communities under the bisexual umbrella. Published annually in New York City since 2013, each issue of Larker features artists, writers, activists, and educators who are out as bisexual. As with most, if not all, bisexual organizations and groups the term bisexual will be used as an inclusive community term to mean romantic and/or sexual attraction to more than one gender (including pansexual, fluid, omnisexual, and queer self-identifications).
Larker utilizes photography to showcase bi affirmative visibility and to communicate visual and cultural markers of bi consciousness and achievement on a global level. Historically, bisexual people are erased through omission or by being categorized as gay/lesbian/straight. We are constantly writing ourselves into narratives that erase our contributions, marginalize our experiences and identities, but most importantly: use harmful definitions of our orientation that don’t come from within our communities. There is one (volunteer-run) national organization (BiNet USA) and several online magazines and newsletters dedicated to bisexual socio-political issues, but there hasn’t been a centralized form collecting how we define our visual culture.
For a group that is constantly told we don’t exist, or that we need to pick sides for everyone else’s political convenience, I found it imperative to have not just a record of bisexual culture, but also an ongoing, broad, living visibility project around how we define ourselves, internally and externally. Larker Anthology was created to give space and shape to bisexual visual language, and culture.
Why is visibility important?
Because the ongoing discrimination that bisexual people face in our everyday lives has negative consequences. Studies show that bisexual people are vulnerable to poverty, discrimination, poor physical and mental health—at rates higher than our lesbian and gay siblings. Currently in the U.S., there are no providers offering support specifically for the bisexual population.
According to a 2014 study by BiNetUsa:
This is why I make Larker Anthology: to give shape and space to an affirmative and inclusive bisexual consciousness. Ending stigma and promoting inclusivity and clarity among individuals who have a negative understanding of bisexuality regardless of orientation is critical to Larker Anthology. Printed copies means visibility. Printed copies would mean inclusion in spaces that typically can’t afford (or don’t consider/don’t know how) to include the B in LGBT. Placing these issues in academic archives makes this content available to researchers/scholars/academics, but more importantly: available to younger generations who grow up hearing only stigmas around bisexuality, and sexual minorities in general.
All content (unless otherwise noted * ) or any likeness thereof is ™ and © 1991-2017 + ∞ marc calvary. / "the carbon based mistake" (U.S. Reg. No. 4,213,952)