Editor's Note

zingmagazine came out of the idea that within certain discipline,
artistic and otherwise, various cross-references ocur, both with individuals
and the material of their particular interest. Rather than remaining isolated
and apart, rither through an unaware and uninformed (or aware and informed)
malaise, there is a need to commingle arenas. By establishing a forum of
collaborative exchange, zingmagazine examines points of both similar
and dissimilar articulation. Like sets and subsets in a mathematical diagram,
having similar and opposite properties, parts of the exchange will share
epiphanies while others will securely diverge. But in the examination of
these current issues, born outof the curatorial collaborative spirit,
zingmagazine reaches for the crossing point, and it is from this
"crossing"-where fiction meets poetry for lunch, theorists mingle with artists
over which they are, and while we all asume new boundries with excess of
technology in the Modern world-that we find our inspiration. Likewise, it is
from this crossing that the title is honed.

The format of zingmagazine is comprised of rotating curatorial projects.
Each curator is invited to create a context of their choosing for each issue.
Among the disciplines/projects that will be explored in this issue: flower
paintings redux Antonioni style, rock riot meets De Stijl; meandering scribbles
coalescing with figure drawings; haunted house pornography, pornographic
haunted house, or haunted house and pornography; the New York Times
as a point of inspiration, with both, caffeine and news as the reload; a sneak
into the mind and life of an über painter of the super cool we all admire
and flock to know about, but through the eye of her photography; drawings that
embrace the best of Diane Arbus and the worst of our subversive fantasies;
a study on the Nietzschean eternal recurrence of ideas in art; a collage of
Modernism and the glamour of Puerto Rico circa 1950; musings on the zaininess
of life in the art world; a view of living and creativity of the Third Ward of
Houston; drawings with their own speculated insurance values; a photo essay of a
gem of mid-century home as it is lived in today; a glimpse of a collector's use
of his own familiar name as inspiration; a project examining the idea stretching
collaboration; an essay on animals and friendship; our 8th CD-featuring New York
based beats and sounds; a documentation of a live Reading Series performed in
Denver Contemporary Art Collection; dream like drawings from the "genuine" heart
and from the "genuine" soul; and well, Bjorn Borg; plus out 7th poster, a
phenomenal visual gymnastic move.

Devon Dikeou