co-edited by Kate Wadkins & Stacy Konkiel
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The word is out! Join us for donuts & feminist art/zine-making on Sunday!

Thanks to my amazing co-curator Aimee Lusty for this FANTASTIC gif.


If you are in New York, please join us this Sunday, October 13th from 1-5pm at Booklyn for coffee & donuts & a feminist zine-making party! Booklyn has tons of paper, some of us will be bringing old magazines and markers & ink. Feel free to bring your own materials as well.

Curators Aimee Lusty and Kate Wadkins seek submissions for a feminist art zine to be released at the close of BRASS IN POCKET, a group show opening Friday, September 13, 2013 at Booklyn Artists Alliance. For the full call for submissions, please click here.

BRASS IN POCKET runs through October 27 at Booklyn Artists Alliance art gallery.
Please feel free to contact me with any questions and RSVP to katewadkins[at] if you can make it to our gathering at Booklyn this Sunday.

Lo from Heartsrevolution is one of our beloved contributors. <3


the heartsrevolution bus

(Source: smoking-her-last-cigarette, via sadgayfriend)


Curators Aimee Lusty and Kate Wadkins seek submissions for a feminist art zine to be released at the close of BRASS IN POCKET, a group show opening Friday, September 13, 2013 at Booklyn Artists Alliance.

The zine aims to represent contemporary feminist artists who explore new possibilities in their respective media, producing work that breaks conventional boundaries in terms of subject and process. The zine also aims to challenge and play on traditional notions of “feminist art.” This is Booklyn Art Gallery’s third open call for submissions for a collaborative zine published in tandem with the gallery’s programming.

Submissions will be accepted in two sizes, 8.5 x 5.5 inches, or 8.5 x 7.5 inches. All submissions should be black and white, at 300dpi. The deadline for submissions is 7pm October 13, 2013. Please send all submissions to

For more info:

(Source: katewadkins)



Kathleen Massara and I video-interview Kathleen Hanna and Kathi Wilcox of BIKINI KILL for the Huffington Post*. Watch them play The Friendship Game!

*I was at peace with being the only non-Kath in the group.

We heart Jen May + astrology.


The Rumblr’s in-house astrologer, Madame Clairevoyant, presents her latest dispatch from the stars:

Today’s image was made specially for Madame Clairevoyant by Jen May.

(via jenjmay)

YoungJun Koo

(Source: mazzystardust, via pelonpsyclone)

If you’re a boy writer, it’s a simple rule: you’ve gotta get used to the fact that you suck at writing women and that the worst women writer can write a better man than the best male writer can write a good woman. And it’s just the minimum. Because the thing about the sort of heteronormative masculine privilege, whether it’s in Santo Dommingo, or the United States, is you grow up your entire life being told that women aren’t human beings, and that women have no independent subjectivity. And because you grow up with this, it’s this huge surprise when you go to college and realize that, “Oh, women aren’t people who does my shit and fucks me.”

And I think that this a huge challenge for boys, because they want to pretend they can write girls. Every time I’m teaching boys to write, I read their women to them, and I’m like, “Yo, you think this is good writing?” These motherfuckers attack each other over cliche lines but they won’t attack each other over these toxic representations of women that they have inherited… their sexist shorthand, they think that is observation. They think that their sexist distortions are insight. And if you’re in a writing program and you say to a guy that their characters are sexist, this guy, it’s like you said they fucking love Hitler. They will fight tooth and nail because they want to preserve this really vicious sexism in the art because that is what they have been taught.

And I think the first step is to admit that you, because of your privilege, have a very distorted sense of women’s subjectivity. And without an enormous amount of assistance, you’re not even going to get a D. I think with male writers the most that you can hope for is a D with an occasional C thrown in. Where the average women writer, when she writes men, she gets a B right off the bat, because they spent their whole life being taught that men have a subjectivity. In fact, part of the whole feminism revolution was saying, “Me too, motherfuckers.” So women come with it built in because of the society.

It’s the same way when people write about race. If you didn’t grow up being a subaltern person in the United States, you might need help writing about race. Motherfuckers are like ‘I got a black boy friend,’ and their shit sounds like Klan Fiction 101.

The most toxic formulas in our cultures are not pass down in political practice, they’re pass down in mundane narratives. It’s our fiction where the toxic virus of sexism, racism, homophobia, where it passes from one generation to the next, and the average artist will kill you before they remove those poisons. And if you want to be a good artist, it means writing, really, about the world. And when you write cliches, whether they are sexist, racist, homophobic, classist, that is a fucking cliche. And motherfuckers will kill you for their cliches about x, but they want their cliches about their race, class, queerness. They want it in there because they feel lost without it. So for me, this has always been the great challenge.

As a writer, if you’re really trying to write something new, you must figure out, with the help of a community, how can you shed these fucking received formulas. They are received. You didn’t come up with them. And why we need fellow artists is because they help us stay on track. They tell you, “You know what? You’re a bit of a fucking homophobe.” You can’t write about the world with these simplistic distortions. They are cliches. People know art, always, because they are uncomfortable. Art discomforts. The trangressiveness of art has to deal with confronting people with the real. And sexism is a way to avoid the real, avoiding the reality of women. Homophobia is to avoid the real, the reality of queerness. All these things are the way we hide from encountering the real. But art, art is just about that.

Junot Diaz speaking at Word Up Bookshop, 2012 (via ofgrammatology)

(via whateverygirlshouldknow)

I just published an outdated call for donations from OOMK (One of My Kind) zine because I was so excited to find it in our submissions inbox. I took IGGU over to England this past March, and collaborated with the women behind OOMK to organize a Feminist Tea in London.

A bit about OOMK:

One of My Kind is a highly visual, handcrafted small-press publication. Our content largely pivots upon the imaginations, creativity and spirituality of women.

While OOMK welcomes contributions from women of diverse ethnic and spiritual backgrounds we are especially keen to be inclusive of Muslim women.

Visually, we are explorative and have a dreamy aesthetic. We use tactile paper, hand illustrated embellishments, collage and lomography.

We are Sofia Niazi, Sabba Khan and Rose Nordin.



hey, can’t figure out how to add this>

OOMK zine is nearly here but we need a little help to get it on its way! Featuring the work of 25 women OOMK is set to be a highly visual small press publication. The zine explores the imaginations, creativity and spirituality of women and our first issue is packed with activist and feminist work from a range of different women. 

We’re really keen to share the thoughts of young active, creative women, especially Muslim women, like ourselves, who don’t really get heard. We’ve finished putting issue 1 together and its looking great, but we need to raise £800 to get 300 copies printed. We’ve set up this fundraising page to help us reach our target: OOMK is a submissions based zine and future issues will be open to all to submit work! Please help spread the word!