Aaron here today with the Composition Competition Awards; Sophie Yanow in the Dakotas; Shaw/Nadel on U-tube; some pioneers of the comic strip; Kirby injustices revisited



Congratulations to ALL who created and submitted work for this year’s Composition Competition contest!
First Place – $500 cash prize: Cameron Nicholson – For a Lack of Better Words
Second Place – $250 credit at Copacetic Comics: Shee Phon – I Know It’s Not About Me, But I Don’t Want To Die 
Third Place – $100 credit at Copacetic Comics: Cameron Arthur – Oasis 
Honorable Mention – $50 credit at Big Planet Comics: Lisa Wilkinson – The Last Time I Saw Tate; Janne Marie Dauer – Blame It On the Night Moves; Luke Howard – Extragalactic; Niall Breen – Śūnyatā 
Special Prize – $25 credit at Copacetic Comics: Lina Madöry – Reflection 
No Prize Shout Out!: Jillian Fleck – I Got A Job; Phillip Dokes – Falling
Congratulations to the winners and all of those who participated.
Sophie Yanow is covering the Dakota Access Pipeline protest at the Nib:
The Strand bookstore filmed last week’s conversation with Dash Shaw and Dan Nadel
In support of Shaw’s recently released Cosplayers book, for your viewing/listening enjoyment.
Some updated exhibition info for the Pioneers of the Comic Strip show on view at Schirn Kunsthalle Frankfurt, through September 18:
With an exten­sive exhi­bi­tion, SCHIRN presents the pioneers of the comic strip, who set the artistic and substan­tive stan­dards of early comic strips in an exper­i­mental and progres­sive way. This also high­lights the rela­tion­ship of comic strips and colorful news­paper supple­ments with the devel­op­ments in visual arts at the time. The SCHIRN presents the cultural history of the comic strip in an outstanding series of selected works, primarily by Amer­ican illus­tra­tors: Winsor McCay, Lyonel Feininger, Charles Forbell, George Herriman, Cliff Ster­rett and Frank King.
Asher Elbein writes about Jack Kirby’s history with Marvel Comics at the Atlantic:
In the mid-1970s, Congress revised the laws around copyright, offering longer periods of ownership for copyright holders—if the proper paperwork could be provided. Marvel realized that many of its previous contracts were legally questionable, remnants of the comics industry’s fly-by-night origins with regards to creative work. In 1978, the company began handing out freelancer contracts that guaranteed the company “forever all rights of any kind and nature in and to the work.” As Michael Dean wrote in a 2002 issue of The Comics Journal, these “work for hire” contracts were partly a result of the superhero boom Kirby himself had a hand in creating. “It wasn’t just monthly comic books that were at stake any more,” Dean wrote. “It was the vast ancillary potential of licensing and merchandising the content of those comics.” The contracts legally formalized what had previously been loosely assumed to be corporate policy, but having it in writing gave many comics freelancers pause for thought. When Kirby got the contract, he refused to sign it and left Marvel for good.
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