Dig In Magazine Interview with Adam Rozan,
Publisher and Curator of Broken Meter 'zine

Dig In Magazine interviews Adam Rozan who is the Marketing Manager for the Oakland Museum of California, as well as the publisher/curator of Broken Meter 'zine, a publication that is known for showcasing raw, urban landscapes through images of art, mainly street art in San Francisco, California. Broken Meter's "mission is to try to capture what we see every day, only to slow it down, and exaggerate each image or idea." When asked about his publication as a platform for expressing his views on society and culture, Rozan explains: "It's more about about creating something. It's about participating, and being actively involved in my communities, and by extension, the communities of the artists we feature. The work itself speaks to many different topics and issues, the artists give the works their own voices." [Interview posted on May 27, 2011]

Dig In Magazine: Where are you originally from, where do you currently live and where is Broken Meter based out of?

Adam Rozan: I'm from New Jersey, and Broken Meter is based out of San Francisco, Calif.

DIM: Where did you come up with the idea for Broken Meter 'zine?

AR: The idea was always there, as was the need. With Broken Meter the idea has never been to replicate what Juxtapoz, Hi Fructose, VNA, and others are doing so well; or what you might expect from 'zines on graffiti. Its mission is to try to capture what we see every day, only to slow it down, and exaggerate each image or idea.

Creating Broken Meter was in many ways an attempt to explain and share my ideas on art and beauty with others. I see it as an education tool.

DIM: What does the 'zine consist of?

AR: Broken Meter is constantly evolving. In Issues III and IV, we will expand upon the lessons learned from the first two issues. For instance, we are improving upon design elements with the amazing team from Omnibus Design. We're also working on new special features. These upcoming issues will still highlight the amazing artwork, artists who are connected to our manifesto, and photographs that illustrate the landscapes of cities.

DIM: What are you trying to communicate through your publication?

AR: The magazine is a visual tool, a map that explores our urban environment with an engaged reader. There is a misconception with street art, street artists, and graffiti. Viewers have a desire to look away, to selectively view their environments. In San Francisco, it could be the Mission's 6th Street, or the Tenderloin that the pages of the magazine are addressing, simply by putting clips of those artworks front and center—you can't look away.

Whether you're looking at images that come from Haiti or London, the stories, people, and environments start to meld together visually. Colors, concepts, and experiences start to emerge, linking the art. These neighborhoods are beautiful, artworks can be found on each and every block. All it takes is careful observation. By producing Broken Meter, I'm attempting to bring what I see to everyone else, especially if they haven't had the opportunity to travel to these far-flung places.

DIM: How is your 'zine, Broken Meter, a platform for expressing your views on society and culture?

AR: For me it's about creating something. It's about participating, and being actively involved in my communities, and by extension, the communities of the artists we feature. The work itself speaks to many different topics and issues, the artists give the works their own voices.

Take Hugh Leeman for example. His work addresses homelessness, the unseen people of our society. By sharing their portraits in such a prominent, reflective way, we are forced to accept them and address them as equals. You can't turn away. Art, in this case, is representative of our society, our culture. Broken Meter is a platform where these artists and subjects matter can be seen, heard, contemplated, and discussed.

DIM: What about street art and urban landscapes inspire you?

AR: I find street art beautiful and inspiring. In these works, it is easy to find genius; to truly see the creative process in play. Most of us have seen a puddle. Artists like Slinkachu see the puddle, and react to it. For instance, when he places a severed tennis ball in a puddle, he is creating an island for his figurines—and they become a world unto themselves.

DIM: I understand you had an opening at San Francisco's White Walls and Shooting Gallery in December 2010. How was the turn out? Which artists did you feature at the opening? Can you describe the scene there?

AR: It was a great night! It was fun, lively, and very SF. Many of the artists who were featured in Issue I were able to participate, including D Young V, Skinner, Eddie Colla, Brett Amory, and Aaron Lee, which made for a great show. We worked with the White Walls team to recreate the flavors found throughout city. We attempted to showcase the art as if it were in its natural habitat—except we adapted it to the walls of the gallery. It became a miniature city experience.

DIM: Why did you choose White Walls and Shooting Gallery as the venue for the launch of your 'zine?

AR: I admire White Walls and the work that Justin Giarla and his staff do week in and week out. His gallery and others have acted like a form of continuing education for me. Each show, each installation takes on the role of a seminar, and from these experiences, I have learned a great deal and grown tremendously as an enthusiast. The artists and the works shown are today's movement, today's art. Seeing the pieces and meeting the artists is exceptionally rewarding.

DIM: How many issues have you published?

AR: To date, we've published two issues, but we are working on Issues III and IV, while simultaneously starting a series of projects. Broken Meter is still in its cocoon phase—it's an evolving work in and of itself, the platform for new ventures.

DIM: What types of distribution methods do you use?

AR: The response to Broken Meter has been great, and I'm very happy to say we've built a small but loyal fan base. Distribution remains very personal, as our team at Broken Meter is behind everything we do, from our online store at http://brokenmeter.bigcartel.com/, to our events at White Walls and Sketch Tuesdays.

DIM: Where can people find your zine?

AR: Unfortunately Issues I and II are completely sold out. They were sold through the Oakland Museum of California's store, Needle and Pens, and, of course, online.

DIM: Is it your goal to make the 'zine a mainstream publication?

AR: The short answer is no. I see Broken Meter fulfilling a different role. We have big plans, but for now it's about being in the cocoon, as we realize our evolution.

DIM: I understand that you work for the Oakland Museum of California, what is your role there?

AR: That's correct! I'm the Marketing Manager for the Oakland Museum of California.

DIM: It has been said that you are the young blood that has revolutionized the way museums go about attracting museum visitors and interacting with people in this modern day. What is your perspective on social media and how should museums be increasing participation?

AR: Wow, thank you. I'm part of a new generation who chooses museums as their life's work. For me, museums matter. They are, and should be, centers of our communities; hubs of activity, dialogue, and active participants in our lives.

The museums of the future will be transformed. Visiting a museum will no longer be a silent, solitary experience, but a lively happening. In many ways, changing how we think about museums and what we do while visiting matter most. What's great is that the change that is already happening is being dictated by the public—by our very own communities, both local and global.

Museums are catching up. And the change isn't just late night events, bands, and bars, but real changes¬¬¬¬¬—look at social media as an example. At first, I think these Web sites were places where you went to share everything about nothing. That's changed. Museums have seen the power and influence social media can have, and the opportunities these outlets provide. The digital conversion has already started. Museums aren't just on Facebook and Twitter sharing content. They are creating new content—videos, blogs, games, apps, etc. It's amazing and it's infectious. It's revolutionizing how we visit, explore, and learn.

DIM: What is your educational background and how has your education shaped what you are doing today in terms of art, museum work and your 'zine?

AR: Academically, my undergraduate degree was focused in the studio. I majored in painting and later I received a master's in museum studies. But it was the work I did while living in Boston and working at the museums there that shaped my thinking. Those experiences helped me understand that to engage, view, or even discuss art required assistance. A question posed, an opportunity to meet and discuss art with the artist, music, or other type of programming—it all led to Broken Meter, a 'zine that showcases street art and urban decay.

DIM: Where did your love for art and specifically street art begin?

AR: Art has always been a part of my life, both as someone who creates art and by growing up in a family that appreciates art. I didn't see true graffiti art in New Jersey. There were tags, but even those were scarce. D.C. and Baltimore were the first places where I started to see graffiti and street art. But my appreciation for street art truly developed in Boston.

DIM: What is your perspective on the legitimization of street art?

AR: In many ways street art is legitimate. That's what happens when artists' works can be seen in museums, auction houses, and included in mainstream media. On the other hand, street art is born out of graffiti, and while graffiti is an art form, it is still illegal. This duality ensures the movement is constantly evolving.

DIM: Do you plan on having other Broken Meter 'zine events in the future? If so, can you reveal any venues or artists that you might feature?

AR: No big secrets to reveal. Look for Issues III and IV coming out this summer, and some surprise activity coming to a street corner near you.

DIM: When does the next issue come out?

AR: Summer 2011.

DIM: What is in the future for you in terms of Broken Meter and your other creative projects?

AR: For Broken Meter, it means continuing to work on projects: New issues, gallery shows, and other special projects. I'm interested in working with artists and helping them achieve their goals. I am also always working to introduce new audiences to these artists and their artwork.