Aaron Cockle today with Comic Sans; Yayoi Kusama; Claes Oldenburg; Jason Shiga; Nancy; Michelangelo Buonarroti
‘Hating Comic Sans Is Ableist’
Lauren Hudgins looks at the Comic Sans font, its detractors, and how people with dyslexia use it to read:
Comic Sans and Arial are readily available because they are included by default in many operating systems and word-processing programs, and they are web-safe fonts. A pamphlet from the office of student services at my sister’s school on accommodations for dyslexic students is printed in Comic Sans on blue paper in both English and Welsh. Other common fonts suggested by the British Dyslexia Association include Century Gothic, Verdana, Calibri, and Trebuchet. (Trebuchet was also designed by Connare.)
On Instagram, the Broad’s geotag summons a seemingly endless stream of photos of museumgoers – individuals, couples, children – holding smartphones up to Kusama’s reflective surfaces. The rise of art selfies like these has become a bone of contention among the art world elite, inciting a backlash in Kusama’s case. The New York Times’ Roberta Smith called her “a bit of a charlatan” who “stoops to conquer with mirrored ‘infinity’ rooms that attract hordes of selfie-seekers”. The LA Times went further: “The most interesting feature of the rooms is that looking at the ubiquitous photos of them is as fulfilling as actually being there”. Apartment Therapy meanwhile, declared her David Zwirner exhibition “the Instagram exhibit to end all Instagram exhibits”.
Taken together, the sculptures in Shelf Life represent a compendium of the ideas and objects that have resonated throughout Oldenburg’s life and practice, now revealed in completely new relationships. As an artist pivotal to the evolution of contemporary art throughout the 20th and 21st centuries, Oldenburg has approached this latest period of his career as, he said, “a time to decide what one keeps.” These are the images he has chosen to keep.
‘The Science of Demon’
Jason Shiga guest-blogging at Locus Mag:
Science fiction has always been my favorite genre, especially when the story takes the form of scientific discovery itself. There’s something incredibly satisfying about the classic scientific method of observing, imagining, testing and finally getting a clear answer from the universe about some fundamental way it’s structured. I feel the human mind has a science shaped keyhole in it and hearing a good story or joke or cleverly designed experiment all satisfy that same part of the brain. It could be Sherlock Holmes figuring out that what everyone else thought was a ghost was just a (spoiler for 100 year old story) dog covered in luminescent paint. In a way, I think all great fiction is science fiction of a sort.
The 200th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, Nov. 14, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby). Free and open to the public.
Cartoonists and scholars, Paul Karasik and Mark Newgarden use a single three-panel Nancy strip to explain how the medium of comics works.
Everything that you need to know about reading, making, and understanding comics can be found in a single Nancy strip by Ernie Bushmiller from August 8, 1959. Mark Newgarden and Paul Karasik’s groundbreaking work How to Read Nancy (Fantagraphics Books, 2017) ingeniously isolates the separate building blocks of the language of comics through the deconstruction of a single strip.
As much a lecture about visual literacy and the benefits of deep-reading, students, academics, scholars, cartoonists and casual fans will be stunned to understand that the secret language of comics is right before their eyes.
Paul Karasik is the co-author (along with David Mazzucchelli) of the perennial graphic novel classic City of Glass, adapted from Paul Auster’s novel. His cartoons appear in the New Yorker. Paul teaches at the Rhode Island School of Design.
Mark Newgarden is an acclaimed cartoonist and author of the book We All Die Alone, the co-creator of “Garbage Pail Kids”, and the co-author (with Megan Montague Cash) of the award-winning Bow Wow series of children’s books. Mark teaches at Parsons and Pratt Institute.
This exhibition presents a stunning range and number of works by the artist: 133 of his drawings, three of his marble sculptures, his earliest painting, his wood architectural model for a chapel vault, as well as a substantial body of complementary works by other artists for comparison and context. Among the extraordinary international loans are the complete series of masterpiece drawings he created for his friend Tommaso de’ Cavalieri and a monumental cartoon for his last fresco in the Vatican Palace. Selected from 50 public and private collections in the United States and Europe, the exhibition examines Michelangelo’s rich legacy as a supreme draftsman and designer.
Suzy and Cecil – 11-14-2017 – by Gabriella Tito
Joanie and Jordie – 11-14-2017 – by Caleb Orecchio
Cozytown – 11-14-2017 – by Juan Fernandez